COMPONENT 2

Section A: San Junipero VS Camille  

MEDIA LANGUAGE 

Top Tip: Name the specific code (e.g. “the neon pink of Kelly’s jacket”) and link it to meaning (e.g. “reflects her yearning for youthful freedom in the afterlife”). 

REPRESENTATION 

San Junipero 

• LGBTQ+ Love: Yorkie & Kelly’s relationship is celebrated, countering tragic queer tropes. 

• Gender & Age: Older characters inhabit youthful bodies—challenges ageism. 

• Disability: Yorkie’s paralysis is portrayed empathetically, not as pity porn. 

Camille (The Returned) 

• Death & Return: Camille’s normal teenage identity vs her “dead” status → uncanny “Other.” 

• Family Dynamics: Parents negotiate love, loss, and fear—highlights varied grief responses. 

• Community Suspicion: Townsfolk’s distrust mirrors societal fear of outsiders. 

Theory hooks: 

• Hall’s Representation: decode how these texts construct “the Other” (virtual self vs undead). 

• Butler’s Performativity: explore how characters perform identity (Yorkie’s avatar vs Camille’s childlike innocence). 

NARRATIVE STRUCTURE 

Todorov’s Equilibrium Model 

• San Junipero 

• Equilibrium: Virtual beach party 

• Disruption: Yorkie/Kelly’s revelations about life/death choices 

• Recognition & Repair: Kelly decides to join Yorkie permanently 

• New Equilibrium: Eternal afterlife together 

• Camille 

• Equilibrium: Town mourns bus crash victims 

• Disruption: Camille returns alivez 

• No Clear Repair: Town remains in limbo—open-ended 

Barthes’ Enigma Codes 

• San Junipero: Will Kelly “upload” forever? 

• Camille: Why did she return—who controls the phenomenon? 

Pro Tip: Show how structure reflects theme—closure (hope) vs open-ended dread. 

GENRE & POSTMODERNISM 

Conventions, hybridity, and fragmentation 

CONTEXT 

San Junipero 

• Tech Culture: VR/A.I. anxieties, debates on digital immortality 

• Social: Growing LGBTQ+ visibility (2016 UK & global) 

• Platform: Netflix’s binge model encourages emotional investment 

Camille (The Returned) 

• French TV Tradition: Slow-burn, character-driven, existential narratives 

• Social Climate: European concerns over identity, memory, “returning” diaspora 

• Industry: Canal+ premium slot—niche, discerning audience; art-house prestige 

INDUSTRIES & AUDIENCES 

San Junipero 

• Production: Endemol Shine for Channel 4 → later Netflix 

• Distribution: Global streaming → huge international fandom 

• Audience: Active decoding; fan theories; queer communities celebrate utopian ending 

Camille 

• Production: Canal+ & Haut et Court (French indieTV) 

• Distribution: Canal+ (France), More4 (UK), niche streaming 

• Audience: Quality-TV viewers; subtitle-tolerant; art-house enthusiasts 

Theoretical lens: 

• Hesmondhalgh: Netflix risk-management vs Canal+’s auteur-driven model 

• Jenkins: participatory fandom—fan forums vs boutique TV blogs 

Sample Question & Answer Plan 

Q: “Compare how San Junipero and Camille use narrative and representation to explore life and death.” 

1. Intro: define key terms (representation, narrative) + thesis (hope vs dread, closure vs ambiguity). 

2. Para 1 (Narrative): Todorov + Barthes → contrast structures. 

3. Para 2 (Representation): Hall + Butler → queer utopia vs uncanny return. 

4. Para 3 (Context/Industry): Hesmondhalgh + Jenkins → distribution models & fan engagement. 

5. Conclusion: succinctly restate how these choices shape meaning and audience response. 

Section B – Magazines 

Vogue (mainstream fashion magazine) 

Media Language:  

• Vogue is a glamour fashion/lifestyle magazine. It uses high-production glossy visuals: iconic cover images (often celebrities in couture), bold masthead, elegant serif fonts, and a full-color palette.  

• Typical conventions include a single striking portrait on the cover, multiple coverlines (feature teasers), editorial spreads of models in designer clothes, and extensive fashion photography.  

• The narrative of a Vogue issue is aspirational and celebratory: it “tells a story” of seasonal style or celebrity lifestyle. Its genre is consumer fashion press; it follows Stefan’s notion that genres evolve with context – Vogue has historically signaled luxury and success.  

• A September issue is massive (27% of yearly ad revenue). Advertisements dominate (a full page can cost ~£36,000), so the magazine’s language blends editorial and promotional codes seamlessly. 

Representation:  

• Vogue traditionally represents idealized femininity and luxury. Classic covers (e.g. Sophia Loren in 1965) present women as powerful, exotic, glamorous idols.  

• Early issues largely showed thin, white models, reflecting Western beauty ideals (Stuart Hall would say this reinforces hegemonic standards). However, Vogue has incorporated progressive representations over time: e.g. by featuring stories on independent women (the 1960s interview with FT’s Sheila Black in finance challenged gender norms).  

• Yet in general it portrays the wealthy, well-dressed elite. It assumes its readers value elegance, style and sophistication (Gauntlett’s identity “pick ‘n’ mix” – readers may model themselves on these images).  

• Stereotypes: Vogue often embraces Western patriarchal norms, though editors sometimes include feminist content. According to one study, recent Vogue issues have become more socially and politically conscious (covering elections, diversity).  

• Overall, it communicates messages of empowerment through consumerism and beauty. 

Audience:  

• The target audience is primarily affluent women (middle/upper-class, often aged 20s–40s).  

• Vogue calls itself a “cultural barometer for a global audience”: it has 27 international editions and 11.1 million monthly print readers (plus huge online following). Its British edition historically targeted AB socio-economic groups.  

• The mode of address is aspirational and authoritative – voice of an industry leader. Readers are mostly passive consumers of its luxurious content, but they can be active online (via social media, comments on vogue.com).  

• Using Jenkins, Vogue has cultivated a global online community (Instagram, YouTube channels, events).  

• The content assumes reader literacy in fashion culture and an aspirational mindset. 

Media Industries:  

• Vogue is published by Conde Nast (a multinational media conglomerate). Its ownership (historically Conde Nast, now Advance Publications) epitomizes media concentration: a few large companies own many titles.  

• Editors like Anna Wintour (US Vogue) or Edward Enninful  (UK Vogue) have celebrity power. The magazine thrives on commercial revenue: advertising is crucial – it has more adverts than ever because each generates huge profit.  

• Vogue has diversified into digital media: a strong online presence, social media channels, and even fashion-related conferences and cafés. Content is also syndicated globally across editions.  

• Regulatory context: as a magazine, it follows advertising codes (ASA) but isn’t PSB.  

• Conde Nast’s cultural industry practices (Hesmondhalgh) show risk minimization through brand extension (e.g. Teen Vogue, fashion funds, and using celebrity cover stars.  

• Curran & Seaton would note how such concentration can limit diversity, but Vogue argues it spreads fashion knowledge worldwide. 

Contextual Factors:  

• Founded in 1892, Vogue has become an icon of fashion capitalism. In the 1960s it symbolized the glamorous (Loren, high-end fashion) in post-war Britain.  

• Culturally, Vogue both shapes and reflects beauty standards and class ideals (wealthy lifestyles). It operates in a competitive global economy of media and fashion.  

• Politically, it generally steers clear of overt partisanship, but it does engage with social issues (e.g. environmental consciousness via sustainable fashion features).  

• The rise of social media and fast fashion has challenged print mags; Vogue responded by embracing digital platforms and addressing contemporary movements (body positivity, diversity).  

• Economically, the 2008 recession forced magazines to innovate with online/digital versions (a shift noted by Zinn’s study). 

Theoretical Framework (exam tips):  

• Barthes’ semiotics helps analyse Vogue’s sign systems: e.g., cover images (muselike figure) and luxury logos create myths about lifestyle.  

• Levi-Strauss’s structuralism applies to the genre’s binaries (mainstream Vogue vs alternative Big Issue; glamour vs everyday). Hall’s representation theory is key: Vogue codes women within a dominant ideology of beauty and class.  

• Gauntlett: audiences can “mix and match” roles – e.g. a reader might adopt feminist or consumerist aspects from Vogue texts.  

• Van Zoonen/Butler: discuss gender – Vogue often reinforces traditional femininity (appearance-focused), though it sometimes subverts it by featuring working women.  

• Curran & Seaton critique media concentration (Conde Nast) limiting alternatives; Hesmondhalgh on cultural industries would note Vogue’s brand strategies (global editions, events).  

• Shirky/Jenkins: Vogue’s use of social media and participatory campaigns (e.g. viral hashtags, videos) shows new media-audience dynamics. 

The Big Issue (alternative magazine) 

Media Language:  

• The Big Issue is a fortnightly street magazine/newspaper focusing on homelessness and social issues. Its layout and design are more utilitarian than Vogue’s: it often features bold, high-contrast typefaces and realist photography (often of people on the streets or social protest).  

• The masthead “Big Issue” is in large, simple block text, and pages may mix editorial with activist posters.  

• Conventions include the seller (vendor) in the publication’s brand – it’s sold by homeless vendors. It contains news commentary, human-interest stories and some entertainment features.  

• Cover lines are emotive (“Sunak’s big oil gamble” on a chaotic background, for example). The code is direct and activist (e.g. front-page calls to action).  

• There is high use of second-person address (“you” appeals to empathy), and language is often ordinary rather than industry-jargon.  

• The Big Issue intentionally breaks some genre rules of glossy magazines: it uses everyday uniforms (the vendor’s badge) as iconography, emphasizing reality over glamour. 

Representation:  

• The Big Issue’s core representation is the homeless and disadvantaged. It “exists to offer homeless people…a legitimate income” and prides itself on humanizing them.  

• The magazine portrays vendors positively – often showing them smiling or sharing personal stories (in contrast to mainstream stereotypes of the homeless as “other”).  

• It includes articles on poverty, inequality, and stories of vendor live. The ideology is explicitly left-leaning: it champions social change and equality.  

• Unlike Vogue’s portrayals of luxury, Big Issue focuses on marginalized voices. Stereotypes of homelessness (“lazy,” “dangerous”) are challenged: instead, vendors are framed as resilient, hardworking individuals (e.g. the Bureau of Investigative Journalism case study humanized homeless victims).  

• Key themes include dignity, empowerment and critique of social neglect. While still a product, its language (“the Big Issue fights week in, week out in our magazine and on the street”) is rhetorical and activist. It also sometimes includes mainstream culture (celeb interviews) to bridge into popular interest. 

Audience:  

• The target audience is socially conscious readers (often middle-class liberals, charities, or politically engaged citizens).  

• The Big Issue assumes a readership that cares about social justice and can afford to buy a £3 magazine in support of a cause. Vendors (often homeless) are also part of its unique audience – they effectively ‘read’ it when they earn it.  

• The mode of address is inclusive and emotive, aiming to position the reader as an ally (“we fight for change”). It encourages active engagement: by buying the magazine from a vendor, readers directly help someone. Its online presence (bigissue.com) also calls for audience activism (petitions, campaigns).  

• Psychographically, readers value ethical consumerism; The Big Issue appeals to values (compassion, fairness).  

• According to Gauntlett, readers of The Big Issue might incorporate a “social activist” identity.  

• Audience participation includes subscriptions and donations.  

• The magazine’s content invites empathy (Hall’s preferred reading is compassion for the homeless). 

Media Industries:  

• The Big Issue is a social enterprise. Founded in 1991 by John Bird and Gordon Roddick, it is not owned by a large conglomerate but by The Big Issue Group (a not-for-profit entity). It’s funded by sales revenue: vendors buy copies (earning the cover price, and advertising (which partly funds the charity mission).  

• The magazine exists to reinvest profit into vendors’ support. It’s UK-based but has international editions (Australia, etc).  

• It is independent (no vertical integration with telecoms/cable), reflecting Curran & Seaton’s diversity argument: fewer profit pressures allowed mission-driven content. However, it still operates in a competitive media landscape; it uses brand strategies (e.g. celebrity columns, mainstream ads) to survive.  

• There’s minimal outside ownership (Stream Publishing is not involved). Regulation: as a print magazine it follows advertising standards but has flexibility to be outspoken.  

• The Big Issue often aligns with NGOs and charities, blurring media/charity lines. Its distribution is unique: newsstands are not used – instead vendors sell directly to the public (street press model). This creates a one-of-a-kind circulation system (the “vendor network”). 

Contextual Factors:  

• The Big Issue was conceived during early 1990s Britain (unemployment and homelessness were high). It responded to a conservative political era by giving agency to the homeless rather than relying on charity.  

• Culturally, it helped change perceptions of homelessness in the UK. Its progressive outlook mirrors New Labour’s later Third-Way and Cameron’s Big Society ideals. Economically, it operates in a market economy but pursues social goals; it’s an example of social entrepreneurship. Politically, its pages often critique government policy (e.g. austerity’s effect on poverty).  

• Global issues (refugees, inequality) are common context. In recent years, homelessness has remained a pressing issue, making the magazine socially relevant. The rise of social media has allowed The Big Issue to extend campaigning online (e.g. #DontCutTheUKBenefitSanctions campaign). Historically, it reflects shifts in media: an alternative press model versus mainstream corporate magazines. 

Theoretical Framework (exam tips):  

• Apply Barthes to The Big Issue: e.g. the vendor on the cover is a signifier of dignity and protest. Levi-Strauss: consider class binaries (rich vs poor, insider vs outsider).  

• Hall: the magazine “re-presents” the homeless in new ways – audiences decode this as advocating social changebigissue.com.  

• Gauntlett: readers may build a caring self-identity by supporting it.  

• Curran & Seaton: note how Big Issue’s independence and altruistic mission contrasts with profit-driven media concentration.  

• Hesmondhalgh: the magazine uses branding strategies (e.g. events, social media activism) to maximize audience reach.  

• Jenkins: though not “fandom” in the usual sense, The Big Issue has an online community (via social networks) of supporters spreading its message.  

• Shirky: digital tools help it “do-it-yourself” campaigning. Van Zoonen/Butler: gender analysis is less prominent here, but one could consider how poverty intersects with gender (e.g. many vendors are men, affecting representation). 

Comparative Points (Vogue vs The Big Issue) 

• Genre/Codes: Vogue (mainstream) celebrates luxury fashion with glossy images and aspirational language. Big Issue (alternative) uses gritty, realistic presentation and social-issue journalism. One relies on stylized glamour (Vogue’s cover stars and logos), the other on human-interest authenticity (Big Issue’s vendor stories)cheatography.combigissue.com. 

• Representation: Vogue enforces high-status lifestyle and feminine beauty norms. The Big Issue focuses on marginalized people’s struggles, challenging victimizing stereotypes. Where Vogue’s stereotype is “woman as fashion icon” (e.g. exoticizing Sophia Lorencheatography.com), Big Issue’s message is “people are more than statistics” (personalizing each vendorbigissue.com). 

• Audience: Vogue targets wealthy fashion consumers; The Big Issue targets socially conscious readers. Vogue’s mode is aspirational (seducing through beauty), Big Issue’s is emotive (stirring empathy). 

• Industry: Vogue is owned by a global conglomerate (Conde Nast) – exemplifying Curran’s media concentration. The Big Issue is a social enterprise, deliberately countering mainstream market logic. This makes Vogue a product of commercial capitalism (Chomsky critics would note advertorial content), whereas The Big Issue follows an altruistic mission. 

• Theory/Application: Compare with Hall: Vogue tends to re-present an idealized world (reinforcing dominant ideology), while The Big Issue re-presents a hidden reality (challenging mainstream values). Barthes: Contrast the sign systems (luxury vs advocacy). Both can be analyzed with genre theory: Vogue as traditional lifestyle mag, Big Issue as hybrid news-magazine. 

Sample Questions (Magazines): 1. Compare the ways in which gender and class are represented in Vogue and The Big Issue. (35). 2. Explore how media language and audience targeting differ between a mainstream magazine (Vogue) and an alternative magazine (The Big Issue). (35). 3. Examine how the media industries behind Vogue and The Big Issue influence their content. (35). 

Section C – Online Media 

Zoella (Zoe Sugg – YouTube & Blog) 

Media Language:  

• Zoella is a beauty/fashion/lifestyle vlogger and blogger. Her media language is informal, visual, and highly stylized. On YouTube and her blog, she uses a hypermodality: blending video, blog text, photos, and social links.  

• Her visual code is a pastel color scheme (pink, fairy lights, flowing fabrics) and hand-made aesthetic (Baudrillard’s hyperreality). Typical content genres include make-up tutorials, haul videos, “get ready with me” vlogs, and lifestyle advice. The narrative style is first-person and confessional, often addressing the viewer as a friend.  

• Her on-screen presence (casual clothes, direct camera address) and amateur filming style create intimacy (imagine an “ordinary girl next door”).  

• Branding elements (the “Z” logo, pastel theme) ensure a consistent identity; for example, the blog’s menu has only “BEAUTY,” “FOOD,” and “STYLE” tabs, reinforcing a feminine focus. The combined effect is a “fantastic yet relatable” constructed world. 

Representation:  

• Zoe Sugg presents herself as a friendly, aspirational young woman. She embodies a stereotypically feminine identity (interest in fashion, baking, beauty), yet she also shares her anxieties and life challenges (subverting stereotypes by humanizing herself).  

• Her videos feature her family, boyfriend (Alfie), and home – symbols of middle-class UK life. Racial diversity is largely absent; most participants are white (symbolic annihilation of minorities).  

• Gender roles are traditional: Zoella as nurturing, cheerful female; Alfie (her boyfriend) plays the “stock boyfriend,” sometimes used for contrast (ideal femininity vs stereotypical masculinity). Through her “big sister” persona, she creates a safe space for girls to explore identity (Gauntlett’s idea of media offering tools for identity).  

• However, critics note her content can reinforce consumerist beauty ideals (e.g. lavish makeovers). Overall, Zoella represents a normative, middle-class, heterosexual female lifestyle, blending normality with a fantasy of perfection. 

Audience:  

• Zoella’s audience is primarily young women. Current data (2024) shows ~4.9 million YouTube subscribers and 9.2 million Instagram followers. 90% of her audience are female, mostly aged 18–35 with a core 25–35 group.  

• She explicitly shifted from teens to young adults as her demographic matured. Social class target is C1/C2 (young professionals) with rising disposable income (they can afford beauty products).  

• Her mode of address is friendly, confessional and inclusive – she often says “we” and “remember when you…” to involve viewers as friends. This invites a parasocial relationship (her viewers feel she’s a big sister or friend). 

•  Audiences are encouraged to be active: commenting, sharing, and even co-creating (she invites questions, does fan-inspired videos). Jenkins’ participatory culture is evident – fans will repost her tutorials, discuss tips on forums, or buy brands she mentions (e.g. affiliate marketing).  

• Shirky’s “end of audience” is seen in how her viewers speak back and influence content. Overall, Zoella fosters an engaged community (her fans often organize themselves online to celebrate her releases). 

Media Industries: 

•  Zoella is an independent brand. Zoe Sugg (and her brother’s company) produces all content and monetizes it. Revenue streams include YouTube ad shares, sponsored content, affiliate links, and her own products (beauty line, books).  

• She used publishers for her books (Hodder & Stoughton)– a form of vertical integration. Platforms like YouTube and Instagram handle distribution, and their algorithms (auto-play, “suggested videos”) are crucial for engagement.  

• Zoella exemplifies a prosumer model: she produces content (as an independent creator) and her audience co-produces (commenting, memes, edits).  

• She has run into self-regulation issues (ASA fines for undisclosed ads on Instagram), illustrating the new blurred lines of online advertising.  

• Economically, she operates outside legacy media corporations, showing Curran’s theory that smaller entities can innovate; but she still relies on commercial sponsorship, so her content aligns with market interests. Her brand evolves (from “Zoella” homemade image to the more professional “Zoe Sugg” brand). 

Contextual Factors:  

• Zoella (b. 1990) started vlogging in 2009, rising to fame in the 2010s YouTube boom.  

• Her career reflects the rise of the influencer in digital culture. Socially, she thrived in an era valuing online authenticity – her “ordinary girl” image resonated with a YouTube-generation seeking relatability.  

• Culturally, her pastel “Instagrammable” style epitomizes 2010s online aesthetics. Economically, she capitalized on consumerism and rising e-commerce (promoting products, launching beauty lines). Politically, her content is mostly apolitical, but she faced scrutiny over advertising ethics – reflecting increasing regulation of influencer media.  

• The COVID-19 pandemic further boosted her online presence (more digital consumption).  

• Overall, Zoella’s success is tightly linked to 21st-century web 2.0 culture: cheap content creation, social media reach, and brand partnerships. 

Theoretical Framework (exam tips):  

• Barthes: analyze how Zoella’s icons (pastels, homemade objects) become signs of “girlhood” and brand authenticity.  

• Levi-Strauss: Zoella’s world is organized by binary oppositions (real vs ideal life; Zoella vs her glamorous persona).  

• Hall: explore her encoding of femininity – audiences decode her content as endorsing either traditional female roles or modern entrepreneurship.  

• Gauntlett: Zoella offers identity resources; fans “learn” girlhood and style from her (her fans use “bigger sister” as a model).  

• Butler: discuss her performance of gender – she largely reinforces traditional femininity (beauty, domesticity.  

• Curran & Seaton: as an independent creator, she contrasts with big media, suggesting more creative freedom (but also the precarity of indie media).  

• Hesmondhalgh: her branding strategy (diversifying into books, beauty products) reflects cultural industry techniques to diversify income.  

• Jenkins: Zoella’s success stems from convergence culture – she uses YouTube, blog, Instagram together and cultivates fan engagement (her longevity has built a fandom). Shirky: exemplifies the “end of audience” – her content blurs producer/consumer lines (followers help shape content). 

resource.download.wjec.co.uk 

Attitude Magazine (online editions) 

Media Language:  

• Attitude is a UK gay men’s lifestyle magazine (online and print). Its website uses bold, dynamic visual codes: bright headlines, high-contrast images, and liberal use of rainbow or gay-friendly iconography.  

• Content categories (News, Culture, Style, etc.) mirror mainstream mags but with LGBT-specific slant.  

• Language is upbeat, inclusive, and often humorous – it uses slang (“twinks,” “queer history”), celebrities’ voices, and queer-coded typography. 

•  Layouts mix text with vibrant photos (models, pride events).  

• As an online publication, it employs hyperlinks, video embeds, and social media sharing tools (engaging the participatory web).  

• Overall, its style combines a polished magazine aesthetic with an energetic, boundary-pushing tone (e.g. playful headlines or personal essays). 

Representation:  

• Attitude explicitly celebrates LGBTQ+ identity, focusing mainly on gay men (the magazine’s core audience).  

• It portrays gay men as confident, stylish, and “normal”, filling a gap where other media under-represent them.  

• It includes diverse male figures – from macho fitness stars to effeminate drag artists – showing a broad spectrum of masculinity (contrasting with traditional media’s narrow norms).  

• However, it is critiqued for being male-centric; lesbians, bisexuals and transgender issues appear less often.  

• Its covers have broken taboos (e.g. early interviews with George Michael and Elton John; a cover with Prince William), indicating a progressive stance.  

• Attitude often frames stories against mainstream homophobia (e.g. contrasting gay-friendly UK with “backward” homophobic countries).  

• Its representation of sexuality is overwhelmingly positive and open – for example, articles on dating apps or same-sex parenting treat these as normal parts of life. Attitude thus constructs a liberated gay male identity: politically active (Pride coverage), culturally savvy (film/music) and community-oriented. 

Audience:  

• Target audience is gay men (and broader LGBTQ+) in the UK (and increasingly worldwide via online).  

• The magazine calls itself “the world’s biggest LGBTQ media brand”, with a print reach in 31 countries and over 1.7 million unique web users monthly.  

• Its readers are typically urban, educated, and interested in pop culture, fashion and politics. The tone is friendly and aspirational – readers are positioned as hip, modern, and connected to the “pink pound.”  

• Attitude’s mode of address is conversational and celebratory (“We’ve got you covered” for gay lifestyle, etc.). It treats readers as insiders to a community.  

• The audience is active online: Attitude’s social media channels (Facebook, Instagram, TikTok) encourage sharing content (hashtags, memes) and readership can “speak back” via comments. It also hosts real-world events (Attitude Awards, Pride festivals) to engage fans. 

• Jenkins’ idea of transmedia applies – content crosses platforms (web, video, social). Culturally, reading Attitude can be part of a subscriber’s identity as an empowered LGBTQ+ individual. 

Media Industries:  

• Founded in 1994 (by Stream Publishing Ltd), Attitude is an independent magazine owned by a small company.  

• This independence (Curran’s diversity) means it isn’t part of a big media empire. Its key investor/MD Darren Styles is openly gay and intended to fill a niche not served by mainstream press.  

• Stream also acquired a Dutch gay mag to consolidate the niche market (horizontal integration). Attitude produces, designs, and distributes in-house (vertical integration). 

• Revenue comes from advertising (branded content, gay-friendly tourism, fashion and beauty ads), subscriptions, and events (Attitude PRIDE).  

• It has extended into digital editions (downloadable on tablets) and an app. The website attracts major advertising partnerships (some global brands see Attitude to reach LGBT consumers).  

• Regulation: it abides by UK magazine standards and often champions censorship-free sexual content, reflecting its “risk-taking” brand identity.  

• In cultural industries terms, Attitude’s strategy is to dominate its niche – it is the UK’s best-selling gay magazine, which Hesmondhalgh notes as a way to ensure survival through specialization. 

Contextual Factors:  

• Attitude launched post-Section 28 (1994 UK), at a time when gay men were still fighting for visibility. It grew alongside LGBT rights milestones (equal age of consent 2000, Civil Partnerships 2005, same-sex marriage 2013).  

• Culturally, it documents and shapes queer culture in the UK (e.g. its early interviews made gay issues mainstream).  

• Politically, it has been a platform for campaigning on HIV, homophobia laws, etc. The magazine reflects increased social acceptance: its 2016 cover with Prince William symbolized a radical mainstream crossover.  

• In economic terms, it taps into the “pink economy” – advertisers targeting LGBT consumers. Globalization and the internet expanded its reach (now read online internationally).  

• Socially, Attitude’s context is the ongoing struggle against homophobia (e.g. coverage of anti-LGBT laws abroad).  

• Historically, it marks a shift from underground queer zines to professional media representation. 

Theoretical Framework (exam tips):  

• Barthes: the logo and cover stars (e.g. the rainbow colors) act as myths of pride and community.  

• Levi-Strauss: binaries such as “us (the free West) vs them (homophobic countries)” are invoked.  

• Hall: discuss encoding of LGBTQ values – Attitude’s text strives for a “preferred reading” of gay liberation.  

• Van Zoonen/Butler: Attitude explicitly challenges traditional gender norms by showcasing effeminate and non-traditional men (expanding masculinity).  

• Gauntlett: Attitude provides identity tools – readers see positive role models (celebrities, activists) to build their identities.  

• Jenkins: fan culture exists around Attitude (the Attitude Awards garner wide attention; Pride events). Shirky: the magazine uses online platforms to mobilize community (its digital Pride festivals reached millions).  

• Curran & Seaton: note that despite being independent, Attitude has achieved significant market share – it suggests small publishers can thrive by targeting niche audiences. 

• Hesmondhalgh: Attitude’s strategy of diversity (including viral content and events) follows his ideas on cultural industries diversification. 

Comparative Points (Zoella vs Attitude) 

• Media Language: Zoella’s content is pastel-toned, DIY/ cosy, and personal (first-person vlogging with feminine signifiers). Attitude’s language is bold, market-style (magazine layout, upbeat headlines). Zoella uses “homey” symbols (fairy lights, makeup); Attitude uses queer icons (rainbows, Pride imagery). 

• Representation: Zoella represents young cis women (beauty/fashion) in an idealized every-day context; Attitude represents gay men (fashion and culture) often in celebratory, confidence-affirming contexts. Both are mostly white-centric. Zoella’s portrayal of gender is traditionally feminine, while Attitude broadens masculinity (showing effeminate men, drag). Zoella occasionally shows vulnerability (anxiety talks), much as Attitude occasionally shows struggles (coming out stories) – both adding depth. 

• Audience: Zoella’s audience is young, mostly female and global; Attitude’s audience is gay/bi men (and broader LGBT) of varying ages, mostly UK/Western. Zoella’s communication feels one-to-many (video log style), but she invites comments; Attitude’s online presence is one-to-many but with community features (comments, social sharing). Zoella readers often aspire to her lifestyle; Attitude readers often seek community and identity affirmation. 

• Industries: Both are independent/alt players (Zoella is self-owned brand; Attitude is independent publisher) – which reflects Curran’s idea that small producers can flourish. Zoella monetizes personally (sponsorships, product lines), Attitude monetizes through ads and events. Zoella’s “platform” (YouTube, Instagram) is global; Attitude’s platform (magazine + web) is media-based. 

• Theoretical: For Zoella, apply Gauntlett (identity formation via “big sister” figure) and Butler (traditional femininity). For Attitude, use Hall (re-presentation of gay identity) and Zoonen/Butler (deconstructing masculinity). Both illustrate Jenkins’s fan culture, though Zoella’s is fan-celebrity and Attitude’s is community-driven. Shirky’s ideas of prosumer apply: Zoella herself is a producer-consumer, while Attitude’s readers help shape the gay media agenda. 

Sample Questions (Online Media):  

1. Discuss how Zoella and Attitude use their online platforms to create and target their respective audiences. (35).  

2. Compare the ways Zoella and Attitude represent gender and identity. (35).  

3. Examine the role of participatory culture (Jenkins/Shirky) in shaping Zoella’s content and Attitude’s online presence. (35).