the page has a symbolic value,
working to unify what surrounds
the image (cited in McLoughlin,
2000, p.34). It can be argued that
the black and white photograph
emphasises
the
difference
between the “me” and “you”, a
white woman and a black woman.
It is also perhaps intended to
draw readers’ minds back to the
black and white image of Gloria
and Amandla on the previous
page, illustrating the similarities
between the two times.
In the text, the author’s use of
parenthesis to inform the reader
of the definition of intersectionality
highlights their intent to educate
their reader. Likewise, the “Conversation” interview structure positions
the reader alongside Amandla, maintaining an intimacy between the
reader and the magazine. This establishes the magazine as a site for
relevant and revolutionary information and news, far from the articles
which positioned women as simply ‘happy housewives’ (Friedan, 1963).
The ‘Great Minds’ article (December 2016) clearly depicts the changing
representations of women in magazines. The title ‘Great Minds’ focuses
on the girls’ intelligence rather than their appearance, setting the tone
for the rest of the article as a celebration of women’s work. The bold and
direct font supports this, instilling a sense of assertiveness. The cover
image displays a photographic portrait of a young African-American
woman; the plain background alongside the minimal makeup and relaxed
expression connotes strength whilst the natural tone mirrors the article’s
focus on talents over the conventional focus on fashion and beauty.
Moreover, the sub-heading “Being brainy is cool” acts as an ideational
phrase that signifies the first of many attempts to dismantle the myths
that separated fashion and beauty from hard work and intelligence.
On the following page, in a similar emboldened font is the title “GIRLS AT
WORK”. Massoni (2004) argues that “the social landscape mapped in
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