Textual Analysis: Double page spreads

Double-Page Spread

Q: The layout of the double-page spread is spread into two columns and organised so the left is largely taken up of an image of M.I.A and the other column has the article. The layout has a neat effect because the main image is eye-catching, transiting to the right where most of the typography is laid and there’s a sense of structure. The ratio of text to image is there’s far more text than image, comparing the size of the article on the right and in the left column there’s a stand first, with subheading above.

The eye is instantly drawn to the main image of M.I.A, because it’s large and M.I.A presents direct address, drawing the audience in and the eye is also drawn to the bold typography in the left column. No sub-headings are present. On the right the audience is drawn to the large, red ‘M’ and the boxing device with the quote below, as both of them are bold red.

Serif font used through the article, which is clean and provides nice contrast against the colours.

Colour template, which is used for the article appears to be similar to the cover, a combination of white and red where red is used to highlight sections, connoting red as an important colour and white spreads the background of the second column, connoting white as mysterious and the first half of the text for the subheading on the first column is white.

The mode of address appears formal as the writing is similar to a news article, and not a normal interview and Maya looks straight at the audience, being direct address. Language used throughout the article include sibilance 12 times, twice on the left column with “She’s” and “Sri” and slang, when Maya says ‘Which I’m not gonna do” and a simile “It’s not like she actually knows how to make a bomb” along with a couple of metaphors.

The content of the story is this is an interview where M.I.A, also called Maya opens herself up and the focus is on her life. 

There’s one image, making it the pre-dominant one and is of Maya. It’s constructed so she covers almost the entirety of the left column, where framed in quite a close-shot and there appears to be high-key lighting, connoting the aura, which surrounds Maya. Maya’s facial expression furthers the mystique as she appears captivating, furthering any theories, which may surround her and wears a hoodie with the hood over, connoting she might be trying to hide herself.

The background is a studio, with a blank surrounding and this could be because the interview’s about Maya, and she wants to reveal herself. To the target audience, presumably people aged 16-24, Maya represents a lot of things, mainly mystique but also power because she thinks about how she composes herself and has dominance over the audience. Her captivating nature as well is a highlight towards the audience, who would be drawn in by the content of the Stand First too “She’s the daughter of a Sri Lankan revolutionary who’s marrying into a billionaire dynasty. Will the real M.I.A please stand up?”.

Other codes and conventions that are used are a quote from the interview is present and shocking which grips the audience “Even if the Sri Lankan Government didn’t kill me, I’d get killed by someone else”. Maya’s stage name is featured in bold, at the beginning, highlighting her celebrity status and font follows the convention it should be size 11 pt and there’s a drop capital at the start, directing readers where to start reading. The piece fits with the overall branding of the magazine as a white background is still featured, the use of bold red to highlight information and the style of the article fits within the theme of Q, for example the way information spreads over to the other page.

The target audience for this article would appear to be people who are age in the demographic 16-24, as M.I.A is a rebellious character and the content of the interview is enticing towards people around this age, as M.I.A opens a number of secrets. It doesn’t look to be gender-orientated but the strong female character could mean it’s more appealing towards and working class looks to be the class target, because this is the type of class this age range would be in, and her combination of types of music means mainstreamers are going to be attracted towards the article. Colours appear to continue from the cover, which are white and red, with red being the highlighting colour and white taking up most of the writing on the left column and being the background for the right.

M.I.A is the only image so is central and it's framed in relation to all the text. She takes up most of the column and the rule of thirds doesn't appear to be obeyed. Overall I feel the text combined with image gives her an impression that she leads a complicated life.

The age group appears to be people aged 16-24, judging by the content of the left column and with the right, where a big red 'M' is spread which makes it looks modern, along with the bottom section.   There doesn't appear to be a particular gender targeted although the female presence may suggest it's more female orientated. I would guess working class is the target because this is for a young audience and mainstreamers are also targeted. Clues include the styling, big 'M' and how the singer's framed.

No rhyming or repetition appears to be used. Sibilance is used 12 times, twice on the left column. One piece of slang is used where M.I.A says “Which I'm not gonna do” and two metaphors and a simile is used, when she mentions “It's not like she actually knows how to make a bomb”. The mode of address is formal, as if a stranger's writing it and it's like a biography. This details her life.  

Rock Sound: For the article, there are ten columns, more than the usual standard and are organised so on the left page there are six, with the various gig guides and the effect this has is everything feels organised, there’s a lot of content and the audience feels there’s a sense of structure. The ratio of text to image is more of the pages are taken up of text, rather than image and there’s a gig guide, as well as other information on Warped UK. The eye’s drawn to the various gigs displayed through the guide, as there’s quite a few gig dates displayed and the image of Davyd Winter-Bates as it’s quite visual with the blurring and heated light, also with the image of Ian Watkins because of how he’s framed. Three different subheadings are throughout the article.

The font varies in size, style and colour for instance in the top left the font starts as being quite big and bold and capitals to give the article an introduction and when it comes to the information for the gigs the font is still capitals but much smaller and the colour is no longer bold apart from listing the bands and month. In terms of the colour template blue is a main presence as it’s the background for a few of the boxing devices and part of the font, highlighting the importance of both and red has a presence because it’s layered on a logo and a flash and is also part of the font, connoting that red is an important colour.

The mode of address acts informal and friendly, partly because the style of an extract from a member of Bury Tommorow appears informal due to the language used such as superlatives and the tone, which involves other language devices that are used around the double-page spread, an example of a device slang “It’s the perfect opportunity for us to show”. The use of language devices for instance superlatives is relevant to drawing the audience’s attention, as the target looks to be people aged 16-24. A feature by a member of Lostprophets appears in the style of being informal because of how he talks, for instance “This will be a lot more chilled and just as exciting” and the construction of the image, the way he’s holding the microphone. Some of the language devices used include rhyming “where, there” and slang, a connotation of this being the presence of slang increases the  and the list of gigs acts informal masthead’s  Images include of Davyd Winter-Bates, various bands performing at gigs such as 'Feeder', one of the members of Lostprophets yelling through a microphone and of 'Funeral For A Friend'. The effects they have are you feel there are a lot of bands.

Colours include light and dark blue, which is used to highlight the boxes and white which takes up most of the background. Black highlights the gig performers. These among other colours are used to keep the reader's attention.

The layout is on the left column there's a box dedicated to Bury Tommorow and the rest is taken up of gig dates. On the right more gigs are shown and there's a feature on Lost-prophets performing in Warped UK and something on Funeral For A Friend. You get a sense this is a mainstream magazine because everything seems laid casually, spaced and there's a lot of gigs.

The shot types are wide 'Bury Tommorow, and the gig pictures' and close ups of Funeral For A Friend and Lostprophets, as well as Bury Tommorow. Wide shots are necessary for the gigs as you can easily see the members of the bands and close ups highlight the people.

I'd say the image of the Lost-prophets member is the central as he's the biggest and framed in relation to the above text. It's dominant and the rule of thirds doesn't look to apply.

The headlines are 'On The Road', on the left column and 'Five Reasons Why Warped UK Kicks The US Version's Arse' and 'Go And See Funeral For A Friend' on the right.

There doesn't appear to be any alliteration, metaphors although there's two superlatives used, one on each column 'biggest'. The tone is definitely in a friendly, informal way, with exclamation marks, brackets and other features and the content is about promoting their new tours, also the focus.

Target audience for this article looks to be 16-24 and the main gender is male, so males are the most likely target. Middle class is my guess as the list of gigs and passion indicate it's for young people who take music seriously. This ties into my theory that aspirers are the personal aspiration. Other clues include colours, the information on offer such as why Lost-Prophets will rock an event, variety of images, the informal Mode of Address and so forth.

The images are constructed in a variety of ways. The image of Bury Tommorow is framed in a close-up, with a dark background that gives it an atmosphere. Ian Watkins has been constructed in mid-shot and the image of Funeral For A Friend has been taken from a low-angle. Davyd Winter-Bates has been framed on the left which keeps him as the main focus and the lighting’s low-key and glows as well, giving it a surreal look and the main use of shots are wide shots, as well as the lighting overall being natural across the images. They’re facial expressions appear enthusiastic, mainly Ian Waktins and this sells the magazine more and the clothing is quite casual and the backgrounds are set across a gig, studio background and outside.

The pre-dominant image is Ian Watkins as it’s the largest and highlights the magazine. To the target audience, people aged 16-24 they represent enthusiasm because from the shot types to facial expressions, it shows commitment to art.

Codes and conventions used are celebrity names are put in bold and stand firsts mostly introduce the celebrities especially with Ian from Lost Prophets. The text is size 11pt but the main image is on the right whereas normally it would be on the left and by-lines are on the left.  The article’s written in informal mode and the piece fits with the overall branding of magazine because it follows the style.

Uncut:

There are two columns and they’re organised so they cover the content in similar fashion, with the left column introducing the article, and it creates a sense of continuity. The ratio of text to image is there's a lot of text but the images are dominant overall. The audience’s eye is drawn to the various images because that's what the focus is and the headings in the red boxes, which highlight the information. Sub-headings are present in below and above the images they function as dates and describe the location where each event took place. For the introduction the font, which starts is large and bold and becomes more muted as it moves onto the images. The overall colour template used is a combination of white, grey and red and a connotation is this shows the maturity of the magazine because the colours are muted, rather than flashy.

The mode of address is informal and friendly as it's a retrospective from Bruce Foxton. There's no rhyming present and repetitious words include 'I', 'That's' and 'Was'. Alliteration isn't present either because this is a personal retrospective and there’s no slang, indicating a mature attitude. Sibilance is used six times and assonance appears with 'even then', 'to do' twice and 'this is' and there are no superlatives or contractions or other language devices.

The content of the story is it’s a history of how Bruce from The Jam was reunited with Paul Weller and focused by being broken into nuggets. Subheadings are used to indicate the various stages, an example being 'The Nashville Rooms, London 1977' and so forth and the language is formal.

The images are mainly group shots apart from one and are constructed to give a retro feel, because of the lighting and the way they’re framed. The way in which the images are framed is different for each one, an example being one has three central/dominant figures, another has two figures are specifically framed in relation to the sub-heading and other examples. The lighting's low-key and half of the images are in black-and-white, the colours are sombre. The main shot types are wide shots and close-ups.

Facial expressions appear casual and the expressions also show The Jam takes their work seriously, as in most of the images the members don’t smile. The introductory image of Bruce Foxton shows him with an anxious expression and another shows him being scared but the overall image of The Jam is professional. Their clothing is a mix of casual and professionalism. In some of the photo shoots they all wear professional clothing and in others there’s a mix, as seen in the final image. Some of the background is shot in a studio while others are shot outside, in a concert and restaurant and the variation is appropriate because there’s a sense of what Bruce has been doing on the way to being reunited with Paul Weller.

The pre-dominant image is of Bruce Foxton who’s outside. No other images are used The Jam represents a history and the variation of clothing, locations among other elements represents their talent and how long they've been doing this.

Other codes and conventions, which are used, include a tagline, 'Ch-Ch-Ch-Ch-Changes' and the masthead, page number and dateline is at the bottom of each page. The piece fits within the overall branding of the magazine because the design of the double-page fits within their philosophy, as it’s casual but at the same time retro, connoting maturity and the images are appropriate, as is the font and other elements.

The target audience appears to be people aged 50-60 as this appears to be Uncut’s aim and males are the main gender because there are a few females throughout the article.

Working class and upper middle are the class types as this is a magazine for older readers and succeeders and mainstreamers are the likely consumer characteristic. The mode of address being informal and friendly fits the retrospective and is giving a treat for fans, hence the age of the fans.

The main artist is Bruce Foxton who's relatively old at 57 and this would suggest more evidence that people 50-60 are the likely target range, as well as what the images show and the clothing has variation which appeals to the demographic, including a biker jacket worn by Bruce. 

NME: There are two columns and they are organised so on the left an introduction is given and the article begins. This gives a continuity feel as the contents are structured. The ratio of text to image is vast as there are four images and the rest of the article is text. The eye is drawn to the first column as there’s an image of Pete Doherty and also to the sub-heading’s as they’re bold red. There are sub-headings spread around the article, split into dates as Pete Doherty talks about various stages. For the introduction title ‘The Secret Diary Of Peter Doherty’ the font is bold as it needs to look striking and the sub-headings are bold. The writing is plain as it makes it easy to read. Colour template is a mixture of red and black, red for part of the introduction title and the background of the box article and sub-headings which makes them stand out and the main writing being black which makes it simple to read.

The mode of address is friendly and informal, as is convention. The only rhyming present, also counting as assonance are ‘to do’ and ‘bapple schnapple’. Three examples of repetitious words include ‘they’, ’the’ and ‘doesn’t’. Sibilance is used eighteen times. Superlatives aren’t present nor is slang and contractions or anything else, making a more professional image. The content of the story is over a series of vignettes, Peter gives an insight into his mind and that’s the focus. The subheadings are given an introduction to what the content’s about and the language is formal, as written by a stranger.  

The images are constructed as a series of vignettes in terms of how they look. The artists are framed in the centre; lighting is soft except for the photo of Pete in the left column, where it’s harder. Shot types used, mainly close-ups except for one which is a wide shot and they’re framed in relation to the vignettes. Pete’s facial expression is neutral, bored and he’s dressed casual. Wolfman looks like he’s on something and you don’t see a lot of his clothing but he’s dressed in a biker jacket. The pre-dominant image is the one with Pete in the background. Overall the artists represent a casual image to the target audience and you get a sense of history.

Other codes and conventions used is part of the dateline, where at the bottom right of the second column you have the date and the masthead’s there. You could say the main headline is ‘The Secret Diary Of Peter Doherty’.

The piece fits with the overall branding of the magazine as some of the colours continue from the cover and so does Pete Doherty and the design of it feels like NME.

The target audience for the article is the same as NME. People aged 25-44 appear to be the target. Males seem to be the primary aim as it's a very male-focused article and working class looks to be the class type. I'd say mainstreamers are the social characteristic.

One of the reasons I know about my target audience is the design is in consistency with the cover, in terms of feel. The mode of address being informal and friendly adds evidence and Pete Doherty being young is more likely to draw the audience. The dominant image is black-and-white, and is of him young so this is relate-able and the other images are of the artists when they were younger. In terms of psychographics I would think the customers believe it offers value as clothing's also a representation, mainly his jacket. The sub-headings in bold red are a sign that they want to attract a vibrant audience. The background looks set in a studio, which is what a few young magazines do.   

Mojo:

There are two columns and are organised so one big image spreads over the two, with most of the text on the right and this gives an impressionable effect as it feels like one big feature. The ratio of text to image is there's more image than text, as the image is larger. The eye is mainly drawn to the image as the presence of Paul McCartney is striking and the ‘Magical’ font is eye-catching, the bus and also the headline. There's one sub-heading which introduces the article, called 'On The Road Again'. A variety of font is used and for the headline particularly it stands out, feels comic book and the subheading's font is quite dark, helping it to illuminate as is the coverline and another is plain, red.

The mode of address for the writing is formal and language that’s used are there’s no rhyming, ‘The’, ‘Was’ and ‘That’ are used as repetitious words and some alliteration is used, such as ‘Magical Mystery’, ‘We Were’, ‘Being Broadcast’, ‘Our Own’ among others. Sibilance is featured a lot with ‘Satisfaction’, ‘Stories’, ‘September’, ‘Soul’, ‘Sgt’ and others. There is no assonance or other language features, and the language that is used leaves an impressible effect, with the use of terms specifically ‘Magical Mystery’.

The content of the story is it’s promoting a MOJO special The Magical Mystery Tour… And Beyond and the article also talks about the film itself and that’s where the focus is centred. One subheading is used and in terms of content it’s focused on getting the audience prepared for The Magical Mystery Tour. No particular media language is used. 

One image is featured and it’s constructed by being spread across the two columns. Paul McCartney is framed in the left column within relation to the entire text, therefore being dominant and the lighting appears natural and the shot type is a wide shot.

Paul McCartney’s expression is contemplative, his clothing a mixture of black, dark blue and a mixed range on his jumper. The style of his jacket appears casual as do his jeans, linking to the genre, as the combination of clothes appears mainstream and Rock’s considered a mainstream genre. The background looks to be set outside, the setting next to a Magical Mystery Tour bus, communicating the widespread appeal of The Beatles as this is how far they’ve spread.

The pre-dominant image is the same as the main one because there’s only one image.

To the target audience Paul McCartney appears to represent the average citizen, leaning against the bus and less of a celebrity than he might appear, also contemplating the journey he might be about to take and whether he should step on the bus.

Other codes and conventions present are the headline is the largest piece of text and it’s used to draw the reader in, rather than explain what the article’s about. That’s what the stand first does, which is an introduction to the article explaining it. A drop capital’s used at the beginning of the article so the reader knows where to begin and there’s a consistent colour scheme as well.

The main colour template is red, spreading across the page and yellow’s another colour where is part of the headline, the backdrop of the bus and is also used in one of the boxing . Yellow's the other main as it's also part of the headline and it spreads across the bus and the background for the sub-heading. A connotation to describe is it expresses vibrancy. 

This article fits within the overall branding of the magazine as it makes sense to cover a band such as The Beatles within Mojo and the styling is consistent.

My estimation for the target audience demographic is people aged around 40 plus, because this looks to be an older magazine. There’s barely any female presence on the cover apart from the mention of ‘Auntie Jessie’, possibly suggesting this is a magazine aimed at males. This all means middle class are the likely income and social class to buy this and for psychographics, this will be mainstreamers, as Mojo is an established brand. It’s possible to see this is aimed towards people 40 plus through the Mode Of Address, as the communication is simple with easy-to-read font and the Magical Mystery Tour is something people will have watched growing up and the image connotes nostalgia, as if Paul McCartney wants to take a ride through history lane. 

The mode of address is formal and you can see it's written by a stranger and leaves a proffessional effect. No rhyming is present. 'The', 'was' and 'that' are repetitious words. A few alliteration is used, including 'Magical Mystery', 'We Were',  'Being Broadcast', 'Our Own' and more. Sibilance is used a  lot with 'Satisfaction', 'Stories', 'September', 'Soul', 'Sgt' etc.  No assonance is present or other types of language. The content of the story is a retrospective on 'The Magical Mystery Tour' and tells you some details about Mojo's upcoming Beatles special and the focus is about the film.

No sub-headings are used with the exception of 'On The Road Again' which is informal and talks about 'The Magical Mystery Tour'.

The only image is of Paul McCartney and is constructed to spread the two columns. The artist is framed on the left against the bus and the lighting appears to be saturated and the shot is a wide one. His expression is a bored one and is wearing a combination of smart and casual clothes, as his jacket is smart. The background is the bus. There's no other images and the artist represents the 'Magical Mystery Tour' as well as the band.

Other codes and conventions present include the masthead, part of the dateline, a coverline and model credit. The piece fits the branding as it reflects the content as well as the design, such as the colours red and white returning.

The target audience is people 40 plus, looks towards males and working class is their aim as well as mainstreamers.

40 plus is the magazine's aim as the design fits within Mojo's maturity and there's no female presence so this provides evidence that Mojo are aiming towards males. The lowest class you could likely have for 40 plus is working and this is aimed at music fans so mainstreamers would buy this. The mode of address being formal adds evidence this is for serious music fans and Paul McCartney has been performing a long time and the image is iconic. The way McCartney poses could also be seen as taking seriously and the clothing is muted.