How have the representations in the magazines you have studied been shaped by sociohistorical and cultural circumstances?

How have the representations in the magazines you have studied been shaped by sociohistorical and cultural circumstances?

• There is a close-up, high-angle camera shot of the person in the bath. This shot does not reveal their identity.
• There is low-key lighting
• The mise-en-scene of her hands show that she has been in the bath for a long time
• The mise-en-scene of the setting, the bathtub, shows that the woman is surrounded by water. 
• The image is composed at the top of the page, this allows the audience to see it first following the Z-Line rule
• The mise-en-scene of her tattoos could show she is rebellious
• The colour pallet is limited and uses colours associated with sadness. 
• There are muted colours which are dull and boring
• Binary opposition between two pictures of the sink and the woman's hand. Normality and luxury.
• The breeze advert is in Black and White, this is because the magazine had to be kept affordable. It shows the magazine has low-production values.
• The picture of the sink has high-key lighting, which indicates luxury as it is bright. The mise-en-scene of the water coming out of the tap, further shows the product is luxurious, because it works well in an effective and precise manor.

While Woman magazine presents a singular and sexist representation of women, Adbusters presents a complicated and atypical representation of gender, which is highly appropriate to it's genre and ideology. For example, the close-up, high-angle camera shot manages to exclude her face from the camera-shot. This means that there is less of an emphasis on gender, as although her hands and legs are stereotypical of a female, her face is never seen, and therefore she remains gender-neutral. The high-angle, close-up camera shot is focused on the mise-en-scene of her hands. This is not a part of the body which is stereotypically seen as sexually attractive, and therefore it can be inferred sexualisation was not the aim of the producer when taking this shot. Van-Zoonen believed that all women are constructed differently to men, in order to be sexualised and please a heterosexual male audience. This image subverts this theory regarding the representation of gender, because it does not feature her face or any stereotypically sexualised body parts.