Sexuality in Veja Magazine

Veja is a Brazilian weekly news magazine with a current circulation of just more than 1 million readers, according to the magazine's official online media kit. First published in 1968, Veja provides content similar to popular U.S. Magazines such as Newsweek, focusing primarily on topics such as politics, economics, culture, and entertainment.

Brazil, the country which provides the vast majority of the publication's reader base, is a constitutional republic with a population of approximately 192,272,890. It has a widely diverse racial composition, headlined by nearly identical populations of caucasian and multiracial citizens, according to the National Research by Household Sample conducted in 2008. The country's culture is largely derivative of Portuguese tradition, as evidenced by the national language and heavy preference toward Roman Catholicism. On the MAS scale, Hofstedte assigned Brazil a score of 49, placing the nation remarkably near the middle of all examined nations-suggesting a moderate amount of gender differentiation.

Quantitative Analysis

Table I (below) shows the differentiation of occupations depicted of models in the examined ads. Models are grouped according to gender, then differentiated between "working" and "non-working" occupational categories. Finally, the ads are broken down into specific occupations within each of the two categories. The vast majority of models examined fell into the "non-working" category, with a high trend towards "no setting," a category in which settings are eliminated or left ambiguous, directing emphasis toward the model's posture and expressions. Notably, none of the six male models depicted fell into the "working" category. In the "non-working" occupations, there was a remarkably high correlation between males and females even in the specific subgroups, suggesting a level of gender differentiation even lower than Hofstedte's findings.

Table I. Occupations of models shown in Veja Magazine.

Occupational CategoryVeja (Brazil)

MaleFemale

WorkingN=0N=2

I. High level business00

II. Professional00

III. Entertainment/sport00

IV. Sales, mid-level business050.00%

V. Blue collar050.00%

VI. Public service00

Sub Total0.00%100.00%

Not workingN=6N=5

VII. Family16.67%20.00%

VIII. Recreational16.67%20.00%

IX. No setting50.00%60.00%

X. Other16.67%0

Sub Total100.00%100.00%

Total67

Table II differentiates between the product types displayed or promoted in advertisements featuring male or female models. Unlike the aforementioned occupational categorization, the product types displayed some evidence of gender differentiation. Of the sixteen product categories, just three types were seen utilizing a combination of male and female models, while four products were exclusive to one gender or the other.

Even so, the category which was far and away the most depicted by each gender (watches/cameras/cell phones) showed a perfect 1:1 male-to-female ratio, depicting two models of each gender. The second-most depicted product type, automobiles & transport, also utilized one male and one female model.

Interestingly, of the four gender-exclusive product types, three depicted only female models. Although the sample size is small, selective gender marketing in these ads showed a disproportionate tendency to be geared towards female audiences.

Table II. Product categories as depicted with models in Veja Magazine.

Product TypeVeja (Brazil)

MaleFemale

N=6N=7

1. Food/non-alcoholic drink00

2. Clothes16.67%0

3. Cosmetics014.20%

4. Drugs00

5. Cleaning products00

6. Tourism00

7. Furniture00

8. Appliances00

9. Watches/Cameras/Cell Phones33.30%28.57%

10. Liquor00

11. Tobacco00

12. Entertainment/Computers16.67%0

13. Auto/Transport16.67%14.20%

14. Banks/Credit Cards16.67%14.20%

15. Schools/Corporations014.20%

16. Misc/other014.20%

Total100.00%100.00%

Race

Of the 13 models depicted, 11 were caucasian-a seemingly disproportionate amount considering the high level of racial diversity reported within Brazil. The two models not coded as caucasian-one of Asian descent and one which appeared to be of hispanic or mixed descent-were both male, meaning that 100% of female models depicted were caucasians.

The ad depicting a male Asian model in fact promotes Semp Toshiba, a Japanese electronics company which specializes in computers and cellular phones. The model is dressed in a low-cut shirt that bears the company's initials (STI), over which he wears an unkempt wool garment draped on one shoulder, similar to that of the stereotypical "caveman." He also wears eyeglasses with large, square lenses and a thick frame. The caption (translated from Portuguese) reads, "There is no evidence that the wheel was an invention of the Japanese Semp Toshiba." This suggests that the particular model was chosen not for physical appeal, but rather to enhance the ethnic realism of the ad's theme.

Age

Almost every model in the ads examined appeared in be somewhere between 20 and 25 years of age, with the lone exception an ad for the Brazilian steel corporation Gerdau. The ad, which accounts for the the only "mid-level business setting" categorization, depicts a caucasian woman who appears to be in her mid-late thirties. She appears to be in a kitchen, and wears a hair net while rolling balls of dough and placing them on a cooking tray.

It is also interesting to note that the other model depicted in a "working" environment, though probably in her twenties, also appears older than most of the other models. This creates an interesting contrast between stages of young adulthood, where models are exclusively shown in glamorous "non-working" settings, and the career-oriented lifestyles of models just a few years their seniors.

Qualitative Analysis

Ad #1

In the first ad's qualitative analysis, a young caucasian woman is portrayed modeling for Vivari, a company which produces assorted high-end cosmetics geared toward female consumers. The photo is

is a close-up on the model's head and upper torso, complemented only by a basic green backdrop and the company name at the bottom of the ad. There is no text which specifically defines the product; the ad seems to intentionally direct attention toward the model.

The model's attire carries a distinct, edgy tone; her dark hair and eyeliner, along with a black feather scarf draped around the neck provide a sharp contrast to her pale makeup, clear lip gloss, and skin-tone nail polish. Standing, alone, and sporting a barely-there smile, the model is a classic depiction of Sato's "adult" characterization.

She displays a few distinct signs of Nelson and Paek's adult sexuality, as well; she is suggestively clad with a black tube top, and her lips are parted in a suggestively sexual manner. At the same time, the model is in direct contradiction with Goffman's conceptualization of submission; she stares directly into the camera, body and head upright, displaying a strong facial expression suggestive of independent "womanhood."

Ad #2

The second qualitative analysis is an ad designed to promote the Chevrolet automobile company. It depicts one male and one female model, presumably a couple, alone on a tropical beach. The text reads "Combustive filter" with the word "combustive" scratched out in red ink. Below, it reads, "the network takes care of your Chevrolet car like you take care of what matters most."

This subtext is a strong indicator of the ad's theme; one that is heavily laden with very defined roles for each gender. The female model is partially clad in a bikini, shown lying on her stomach in the sand. Kneeling behind her, a partially clad male holds a small bottle of suntan lotion in one hand, using the other to spread some dispensed lotion onto the female model's back. He is, as the ad suggests, "taking care" of his female significant other.

To further this idea, the female model displays several characteristics identified by Goffman as clear signs of sexual submission and ingratiation. She is lying on her stomach, a position which necessarily renders her indisposed to defense against her surroundings, placing her trust and protection in the hands of her male counterpart. While he gazes directly at the woman, she averts her eyes to the ground in front of her with a benign, trusting smile.

Another interesting aspect of this ad is the placement of the two models; the male is positioned behind the slightly raised upper torso and head of the female, revealing only his bare chest and head to the camera. The female model's body is positioned in such a way that her entire profile is visible, accentuating her feminine curves and fully revealing her cleavage. This is another trait of sexual differentiation heavily emphasized by Goffman; while the man's role as guardian is well-defined, even more so is the woman's role as a submissive, sexual being.

Ad #3

The final qualitative analysis is an ad for Louis Vuitton purses which stands in sharp contrast to the previous two ads. It depicts a caucasian female who appears to be in her mid-late twenties in a blue-collar work setting. She is set apart from the other female models described because of the distinct lack of emphasis on her femininity and sexuality in favor of a hardened yet elegant worker.

The text of the ad is by far the longest of the three ads. The primary caption reads, "The tacking with threads of linen and wax of the bee." The longer subtext elaborates, "Needle, threads of linens, and infinite patience protect each tacking against humidity and the passage of time. It is said that the purses of Louis Vuitton present a collection of details. But considering the attention dedicated to each one, can we just call them details?"

The tough, elegant characteristics of the purses are driven home by the ad's model and setting; she is fully clothed, dressed in solid black attire, set against an ambiguous black backdrop. The model's face and hands, along with a table, two purses, and some sewing materials are the only visible items. Her face, like the items around her, is taught and defined. She is pale and seems to be without makeup or nail polish, yet she displays a simple elegance and natural beauty. In this case, it seems the model serves more as a metaphorical reference to the image Louis Vuitton hopes to project upon their products than an element added for sexual appeal.

Though she carries an air of individual rigidity and low indicators of stereotypical femininity, the model still displays several significant characteristics of the subordinate behavior defined by Goffman. Her eyes are averted from the camera, and along with her taught facial expression suggest that the item she is crafting carries far more importance than she herself.

Sources

Veja. December 2009. Editora Abril.

Veja Media Kit. February 2010. Editora Abril.

http://veja.abril.com.br/idade/publiabril/midiakit/english/vejarj_editorial_missao.shtml

Hofstedte, Geert. Culture's Consequences. 2001: 279-350.

Nelson, Michelle R. and Paek, Hye-Jin. "Cross-Cultural Differences in Sexual Advertising Content in a Transnational Women's Magazine." Sex Roles. 53, 2005: 371-383.

Goffman, Erving. "Gender Advertisements." Harper 1979.