ECONOMIC FACTORS IN MAGAZINES

In demonstrating knowledge and understanding of, and making judgements and drawing conclusions about, the significance of economic factors to the magazine industry, responses may refer to some of the following:


 the significance of ownership within the magazine industry in relation to major publishing companies and independent publishers outside the commercial mainstream
 the nature of the magazine industry in the 1960s, dominated by a small number of publishers, a limited number of titles available, sales of women’s magazines reached 12 million copies per week.
 the nature of the contemporary magazine industry, still dominated by major publishers, but a much wider range of titles available and much greater competition for readers, declining print sales and the impact his has had on the way media organisations produce and circulate content to audiences. Independent publishers need to find a unique selling point to appeal to audiences.
 the different sources of funding/ revenue for magazines
 the significance of advertising as a source of funding for magazines, the requirement for magazines to ‘deliver’ audiences to advertisers, the symbiotic relationship between magazine producers and advertisers
 the way in which production values are shaped by economic factors
 the economic context of magazine production in the 1960s and the present day
 historical context - national/international economy– post-war recession/austerity gives way to new consumer boom in 1960s
 power and media industries (Curran and Seaton)


Vogue and The Big Issue

 the significance of ownership by Conde Nast - global company – international editions. Conglomerates are profit/power driven
 niche audience (Contents Page - art, travel, entertaining) – limited circulation – advertisement dependent
 contract with Sun Engraving printers - high quality colour advertisements
 advertising reflects more wealthy/aspirational audience – Imperial Leather, Rayne shoes on Contents Page (By Royal Appointment)
 quality glossy at higher price – monthly release at 3/-
 increased financial stability leads to innovation – more prepared to take risks - originality of cover styling – marvellous mad midsummer…
 economic stability – expenditure on quality product – high production values – major Hollywood cover star (Sophia Loren); Picnics Probable and Improbable - exotic location fashion shoots - Egypt; more expensive designer fashion – Kurt Geiger, Jaeger; celebrity contributors (Antonia Fraser, Robert Carrier)
 limited choice and viewpoints for audiences– marginalised representation of black culture in Picnics Probable and Improbable shoot
 Risk-averse parent company stifles creativity and limits diversity of opinion (Curran and Seaton)
 How advertising reinforces the brand identity of The Big Issue, demonstrating the symbiotic nature of the relationship between advertising and magazines, for example some advertising for consumer goods but also a high proportion of charity and public information advertising.
 The Big Issue as an independent, not-for profit magazine. Now published in conjunction with Dennis.
 Unique street vendor model of distribution (vendors buy the magazine and sell to the public).
 The lower cover price reflects more modest production values with a focus on social issues as well as entertainment features to appeal to the audience.
 The use of Zinio (online newsstand) to generate additional sales and revenues to support the social enterprise aspects of the organisation’s work.


Candidates may argue that economic factors are less significant than other factors – e.g. audience, context or agenda. Some candidates may suggest that economic factors are more or less important now than historically. Candidates may argue that economic factors either limit or offer opportunity for greater creativity and diversity of viewpoint. These approaches are all valid and assessors should mark on the quality of the response, validity of examples and coherence of the argument.