1.  Before you read the article or take notes on it, look at only the Japanese magazine photographs included in the
article.  How do you read them?  What questions and answers are important to you?  Jot these down and keep
them in mind on Thursday when we look at paintings and photographs featuring women at the Ackland Art
Museum.  Do your questions apply equally to magazines and to the museum pieces? 

2.  How are you consuming images differently by walking through a museum and by reading a magazine in your
room? 

3.  The title of Clammer's article is a cute play on words.  You can read it as "the bodies that consume (products)"
or as "we who consume bodies (through reading magazines)."  How does Clammer develop both themes in his
article? 

4.  Clammer chose some women's magazines, men's magazines, and general magazines for his discussion.  How
does the view of the female body change as he considers each of these three magazine types? 
 

5.  Clammer argues that race, age, and class intersect in magazine images of the female body.  Give two examples
of this from his article.  Can you also give two examples from a current U.S. magazine?

         1.  What kind of magazine are we talking about? 

•      Who is the "imagined" reader and subject of the magazine Katei gahô? 
•      What sort of readership does the magazine actually have? 
•      What percentage of the magazines is made up of ads? 
•      How do you guess the magazine looks? 

2.  Moeran uses some terms specific to magazines.  How do you explain: 

•     the magazine's "face" 
•     sell lines
•     flow

3.  Explain how Western-style and Japanese-style clothing have different meanings in the context of Katei gahô.

4.  How does Katei gahô make use of "nostalgia, nature and tradition" in crafting the lifestyle and concerns of the
upperclass Japanese woman? 

5.  Moeran talks about how editors achieve a "flow" of images throughout an issue.  How does he say they do this?

6.  On p. 135, Moeran discusses the pleasures of reading Katei gahô enjoying a fantasy of displacement. What does he mean by this?