Question: Are Ms. and Fucsia targeted at the same gender for their audience?

Context articles: Chick flick
Audience segmentation
Wang Yu (lawyer)
Counterpropaganda
Gender reform in Esperanto
Sheila Cavanagh
Fucsia
Seoul International Women's Film Festival
Audience analysis
Ms. (magazine)

Chick flick is a slang term for the film genre dealing mainly with love and romance which is targeted to a female audience.
 It can be specifically defined as a genre in which a woman is the protagonist.
 Although many types of films may be directed toward the female gender, "chick flick" is typically used only in reference to films that contain emotion or themes that are relationship-based (although not necessarily romantic as films may focus on parent-child or friend relationships).
 Chick flicks often are released "en masse" around Valentine's Day.
 The equivalent for male audiences is the guy-cry film.
 Feminists such as Gloria Steinem have objected to terms such as "chick flick" and the related term "chick lit" and a film critic has called the term "chick flick" derogatory.
Audience segmentation is a process of dividing people into homogeneous subgroups based upon defined criterion such as product usage, demographics, psychographics, communication behaviors and media use.
 Audience segmentation is used in commercial marketing so advertisers can design and tailor products and services that satisfy the targeted groups.
 In social marketing, audiences are segmented into subgroups and assumed to have similar interests, needs and behavioral patterns and this assumption allows social marketers to design relevant health or social messages that influence the people to adopt recommended behaviors.
 Audience segmentation is widely accepted as a fundamental strategy in communication campaigns to influence health and social change.
 Audience segmentation makes campaign efforts more effective when messages are tailored to the distinct subgroups and more efficient when the target audience is selected based on their susceptibility and receptivity.
Wang Yu (born 1 May 1971) is a prominent Chinese human rights lawyer.
 She was arrested by Chinese authorities in 2015 when China initiated a crackdown against human rights attorneys, not unlike a 2011 crackdown in China, only four years earlier.
 Ms. Wang was charged with inciting subversion of state power which is a serious offense in China carrying a life sentence.
 Wang is a lawyer with the Fengrui law firm in Beijing.
 That law firm has been targeted by the government in its crackdown, which arrested two lawyers and one intern there in addition to Wang and her husband, Bao Longjun.
 Late in 2016, Chinese authorities released Wang Yu on bail after she was in all likelihood coerced to give a televised confession in which she denounced her colleagues and suggested that her human rights work was the result of foreign activists out to smear China.
 “I won’t be used by them anymore,” Ms. Wang said in a video published on a Communist Party news site.
 Her confession followed a pattern similar to those given to Chinese authorities by other lawyers, publishers and human rights activists.
 Friends said that although released from detention, Ms. Wang would still remain under surveillance by Chinese authorities for years and would not be free to come and go as she pleases.
Counterpropaganda is a form of communication consisting of methods taken and messages relayed to oppose propaganda which seeks to influence action or perspectives among a targeted audience.
 It is closely connected to propaganda as the two often employ the same methods to broadcast methods to a targeted audience.
 Counterpropaganda differs from propaganda as it is defensive and responsive to identified propaganda.
 Additionally, counterpropaganda consists of several elements that further distinguish it from propaganda and ensure its effectiveness in opposing propaganda messages.
Gender asymmetry is one of the aspects of the constructed language Esperanto that is most frequently targeted for criticism.
 There are numerous proposals to regularize both grammatical and lexical gender.
Sheila Cavanagh is an associate professor of sociology and former chair of the Sexuality Studies Program at York University.
 Cavanagh is currently chair of the Canadian Sexuality Studies Association and co-editor (along with Malena Gustavson) of the "Somatechnics" journal.
 Her research is in the area of gender and sexuality with a concentration on queer, cultural, and psychoanalytic theories.
 Cavanagh is editing a special issue on transgender and psychoanalysis in "Transgender Studies Quarterly" and completing her third book monograph titled "Transgender and the Other Sexual Difference: Bracha L. Ettinger and Jacques Lacan".
 She co-edited a collection with Angela Failler and Rachel A. J. Hurst titled "Skin, Culture and Psychoanalysis" (2013) published by Palgrave Macmillan.
 Her first sole-authored book titled "Sexing the Teacher: School Sex Scandals and Queer Pedagogies" (2007) was given honorable mention by the Canadian Women’s Studies Association.
 Her second sole-authored book titled "Queering Bathrooms: Gender, Sexuality, and the Hygienic Imagination" (2010) is a GLBT Indie Book Award finalist and recipient of the CWSA/ACEF Outstanding Scholarship Prize Honourable Mention (2012).
 Her performed ethnography titled Queer Bathroom Monologues (QBM) premiered at the Toronto Fringe Festival (2011) and was given the Audience Pick Award.
 The play was professionally staged at Buddies in Bad Times Theatre, Toronto, in June 2014 for WorldPride and has toured at conferences, colleges and universities in Canada and the United States.
 She has published in a wide range of international journals and given keynotes addresses at conferences in Sweden, Turkey and Canada.
 Cavanagh teaches an undergraduate course titled Sociology of Gender and a range of graduate courses in sexuality studies, feminist theory and queer theory.
 She is also interviewed in Rohan Spong's documentaries "T is for Teacher" (2009) and "Queer Science" (2008).
Fucsia (Spanish: "Fuchsia" ) is a Colombian-based monthly magazine.
 It is the leading women's fashion magazine in Colombia.
SEOUL International Women’s Film Festival (SIWFF, previously International Women's Film Festival in Seoul, IWFFIS) first took place on April 1, 1997, which marked the second appearance of the international film festival in Korea following Busan International Film Festival launched in 1996.
 This was the time when there was no clear idea about how to define a film festival.
 At that time, SEOUL International Women’s Film Festival came up with a catchphrase See the world through women’s eyes, setting its main goal to introduce women’s films that explore the “women’s reality from the women’s perspectives”.
 Featuring films by women, for women, and of women, the 1st edition of SEOUL International Film Festival received a number of positive reviews from the audience, which was never anticipated this much.
 Thanks to continuous support from the audience, SEOUL International Film Festival that used to be happening every other year has become an annual event since the 3rd edition in 2001.
 For the 6th edition in 2004, SEOUL International Women’s Film Festival looked for changes by relocating the festival office and venues to Sinchon, the street of youth and culture.
 For the 9th edition in 2007, the Queer Rainbow section was first introduced, presenting films about life and culture of gender minorities.
 In order to go beyond the gender boundaries based on biological sex and to reach out for solidarity, SEOUL International Women’s Film Festival newly created the Open Cinema section encompassing feminist films made by male directors.
 Now in 2015, SEOUL International Film Festival attempts to build its new festival identity and become a cultural platform more approachable for a wide variety of audiences by changing the official English title of the festival from International Women’s Film Festival in Seoul to SEOUL International Women’s Film Festival as well as by retouching the festival logo used for last 17 years.
Audience analysis is a task that is often performed by technical writers in a project's early stages.
 It consists of assessing the audience to make sure the information provided to them is at the appropriate level.
 The audience is often referred to as the end-user, and all communications need to be targeted towards the defined audience.
 Defining an audience requires the consideration of many factors, such as age, culture and knowledge of the subject.
 After considering all the known factors, a profile of the intended audience can be created, allowing writers to write in a manner that is understood by the intended audience.
Ms. is an American liberal feminist magazine co-founded by second-wave feminists and sociopolitical activists Gloria Steinem and Dorothy Pitman Hughes.
 Founding editors were Letty Cottin Pogrebin, Mary Thom, Patricia Carbine, Joanne Edgar, Nina Finkelstein, and Mary Peacock.
 "Ms." first appeared in 1971 as an insert in "New York" magazine.
 The first stand-alone issue appeared in January 1972 with funding from "New York" editor Clay Felker.
 From July 1972 to 1987, it appeared on a monthly basis.
 It now publishes quarterly.