Introduction

Relevance: The relevance of my work lies in the fact that today, in order to be a good PR specialist, for example, in publishing, a PR specialist must know not only at a theoretical level what current headings and articles to publish in a printed publication, the style and language of their writing , how and where to arrange information, what tone and color is better to choose when preparing the material, but also to be able to make up a newspaper, magazine or any other printed publication in an original and competent way.

In order to qualify for the status of a good PR specialist in the future, I will do work that will help me get one step closer to an educated PR specialist in the field of print media. The object of the study will be glossy magazines, which will be analyzed in detail, and on the basis of which my first typed edition will be created.

In order to get acquainted with the theory of the development of the printed edition, the characteristics, structure of the glossy magazine and its influence on the modern person will be explored in the first chapter. In the second part of the practical work, a model of the monthly mini glossy magazine "Everything for Men" will be developed. And the final stage is the layout of the printed edition. The vector graphics program CorelDraw will serve as my assistant in layout.

Purpose: to learn as much information as possible about glossy magazines and methods of their creation, in order to create your own typed magazine that could be of interest to the male half of humanity and a publication that could adequately offer itself on the print market.

Glossy magazines are the object of research.

Subject: studying the basics of concepts, content, composition, graphic model of a glossy magazine, in order to create your own layout edition.

Research objectives:

Describe the concept of a glossy magazine and its structure;

To trace the influence of the magazine in the formation of stereotypes of behavior, habits, image of a modern person;

Identify the main positions of creating a glossy magazine;

Make up your own glossy edition;

Methods: system method, comparative analysis (to identify the features of glossy magazines in order to determine their specificity).

Practical significance: the research work carried out will help in the future to make up your printed publications

Basics of edition development

Characteristics of a glossy magazine

Korkonosenko S. G. writes in his article that the rapid development of the glossy magazine industry was associated primarily with the general process of development of bourgeois culture, the modernization of printing technology, a significant expansion of the areola of distribution of printed products, a decrease in the delivery time of issues, a decrease in the cost of publications, and an expansion of readership. audience through the more general content of publications. These and other changes that have affected the production and distribution process have turned magazines into the most popular, accessible, mass media type. The "golden age" of the glossy magazine industry was the 1920s - 1950s, when several media giants were founded, for example, Time (1923), New Yorker (1925), the first men's magazine appeared - Esquire; the circulation grew steadily; the quality of illustrations improved, making magazines more attractive to both advertisers and readers than radio. However, the rapid spread of public television, its great visual impact on the audience had a negative impact on the market of illustrated publications, magazines began to lose to television in the competition for advertisers and consumers of media products.

Overcoming the crisis required the owners of journals to change their publishing policy. On the one hand, innovations touched upon the conditions and cost of subscription (for example, the price of a one-and-a-half-year subscription was less than an annual one), optimization of retail sales of individual issues, etc. On the other hand, a study of the readership of the magazine began, attempts were made to "draw" a portrait of a typical reader: gender, age, profession, marital status, place of residence, etc. Such studies allowed publications to acquire greater targeting, become more specialized, focused on a specific media segment market, increase its economic and communicative efficiency. The change in publishing policy, the expansion of distribution channels of publications made magazines more attractive in the eyes of advertisers, since they provided almost “direct” access to the target audience of the advertised product or service.

In Russia, from the end of the 18th century, after the permission for publishing activities to private individuals, magazines devoted to the socio-political problems of society, fashion magazines addressed to a female audience began to be published. Appeared in the 18th century. women's magazines began to appear regularly in the 19th century. The most famous include such publications as the Magazine for Lovely Ladies, Ladies' Magazine, Aglaya. Under the influence of the growth of the women's movement, about three dozen publications devoted to women's topics have appeared: Rassvet (a universal magazine for a wide audience), Rays (a magazine for girls), My magazine (a publication addressed to girls), To help mothers. In Soviet society, the most famous magazines for women were the Rabotanka and Peasant Woman, fashion magazines were published. A meaningful analysis of the representations of images of femininity in the Soviet media will be presented.

Journal - “printed periodical. The magazine is one of the main mass media that influences public opinion, shaping it in accordance with the interests of certain social classes, political parties, and organizations. The term "journal" comes from the French word journal - diary, newspaper, which appeared in the name of the first journals in French, when the journal had not yet completely separated from the newspaper "(TSB). Glossy, illustrated magazines are printed media. They occupy an intermediate position in the media industry between newspapers and books, which determines their specificity. It lies in the fact that initially, from the moment of its inception, magazines were called upon to fill the gap between newspapers and "serious", "intellectual" books. On the pages of magazines, information of an entertaining nature (fashion novelties, advertising of goods and services) alternates with materials on history, art, cultural heritage, which are accessible to the general reader in form and content. Another feature of the magazine as a media product is its “targeting”, focusing on a specific group of readers.

In the work “Experimental Psychology in Russian Advertising” by Lebedev A.N., a glossy magazine is a magazine that is designed for a specific readership and the main purpose of which is to form a certain lifestyle for the reader and help achieve success by highlighting various aspects of activity in modern urban life, focusing on beauty and gender communication. A glossy magazine is an encyclopedia of glamorous life, it is a colorful picture, it is a set of articles that teach us how to live, what to read, what to watch, how to dress and what to give to a loved one. The first glossy magazine available to Soviet readers was a German magazine with the symbolic name "Burda". It was he who at one time fairly pressed the domestic ladies' press, leaving them not the slightest chance in the struggle for readership. Now a cursory analysis of the press shows that "Peasant Woman" with "Worker" of that Soviet model were in no way inferior in content to either "Burde" or other fancy magazines. Of course, taking into account the current development of the printing base.

There are many glossy magazines, but the list of their topics is surprisingly sparse: food, sex, shopping, resorts, hygiene. They differ not in direction (it is the same for everyone), not in the style of writing, not even in design, but by gender - magazines for men and magazines for women. But there are exceptions, very pleasant, authoritative and intellectual.

Nowadays, any more or less decent magazine, whether it be "The Fisherman-Hunter" or "The Dog's Friend", has a glossy sheen. But the external variety of glossy magazines is deceptive, and behind the luxurious matte covers lies the main question - from what and for whom are these "brilliant" works published. The leaders among many glossy magazines are "Ptyuch", "OM", "Cosmopolitan", "Playboy", each of which has its own permanent audience of readers, corresponding to their "specialization". The range of topics covered by each of these publications generally coincides. These are fashion music, films, books, fashion, sports, cultural and entertainment events, leisure, relationships between people, but the share of these topics in each of the magazines is different and depends on their general focus.

Cosmopolitan" is the most popular women's magazine at the present time. Despite the fact that it is focused on the female gender, some of its materials are also read with interest by men. "Cosmo" is distinguished by the simplicity of the presentation of the material and the superficial presentation. Most of the visual information, one way or another , is advertising material.For this reason, the entire magazine turns into a kind of advertising catalog, diluted with low-value grains of non-advertising information, which, according to the publishers of "Cosmopolitan", is best suited for the female half of our society.

Practically according to the same principle, the "most male magazine" - "Playboy" is built. But, unlike "Cosmopolitan", advertising in it is served mainly indirectly, with the attraction of a seductive female nature, according to the old advertising principle - "a naked woman is able to sell anything." All other materials are intended to create the "right" preferences and tastes of the magazine's readers, who are most often directed to the same products that the publication advertises.

Thus, one can understand the principles by which glossy magazines are published and how they choose the target audience. For example, men are addicted people, and glossy magazines for the stronger sex are another confirmation of the correctness of this maxim. Men are fond of computers, cars, sports achievements (foreigners), killing our smaller brothers. Women also like to spend their free time with maximum benefit, less often for themselves, more often for home and family, and their hobbies, according to glossy magazines, do not extend beyond cutting and sewing, cooking, spending money on all sorts of nonsense, pointing out beauty, gossip and talking. for a life.

The first women's magazines were published and edited by men. In 1779, Nikolai Novikov published the first Russian magazine of its kind under the name Fashion Monthly Publication, or Library for Ladies' Toilets. It consisted almost exclusively of literary articles, "in terms of fashion, only fashionable pictures were attached to it." The intonation of male admiration and admiration for the weaker sex, ritualized by European culture, prevailed in the magazine.

This distribution of male/female could not last long in the context of growing emancipation. A woman gains a voice, gets (from her own point of view - wins) the right to speak about her personal experience and her daily life without the mediation of men. About a third of women's magazines (about twenty) published in Russia during the 19th century were published and/or edited by women. In the next century, this practice became the norm and played a decisive role in shaping the "glossy" standard of feminine and feminine.

Safiullin L.K. in his work defines the specific features of "gloss" as a special kind of autobiographical. The indispensable portrait on its cover (as a rule, photographic, with the image of one of the heroines of the issue - the stars of the theater, cinema, television or modeling business), extremely faceless and at the same time recognizable, concentrates the autobiographical meanings in question. The woman on the cover is her voice from the pages of the magazine, her point of view is presented in it, she is its main character and at the same time a reader. As a result, we are dealing with a text written by a woman - about a woman - for a woman. This autobiographical quality applies specifically to magazines about private life, first of all, to men's and women's. Thus, the discourse presented in magazines for children is obviously more complicated: adults write about children and for children, who form specific standards of “selfhood” in the novice reader. It is necessary to take out of the scope of this conversation also commercial "glossy" publications, such as "Weekly magazine", "Itogi", "Kommersant-Vlast", "Profile". "Expert", "Capital", etc., specializing in the analysis of socio-political and cultural life.

In conclusion of the first chapter, I would like to say that, in fact, glossy magazines continue to play the role of manuals intended for people who are going through a period of growing up. Mastering this knowledge means the beginning of adulthood, that is, the independent building of one's biography and one's destiny. Such teaching aids remain in the nursery. In adult life, a person may be accompanied by special reference books that perform their direct functions, but by no means determine the circle of reading. It is interesting that such handbooks are gender-free, they are not addressed separately to men or women. Boys and girls are brought up differently, but in adulthood, everyone faces the same problems and bears an equal share of responsibility.

Glossy magazines are a heap of disparate elements, borrowed from the above texts and inscribed in the annual cycle of adult life. As guides to life, they produce infantilism as the basis of the worldview. What should be received once in childhood and become the basis for obtaining individual experience, the beginning of a life path involving conscious choice and decision-making, in the magazine stretches over an annual and life cycle, turning out to be an imaginary substitute for personal experience itself. As a result, the (auto)biographical discourse in the glossy magazine Izvod loses its temporal dimension (history of life) and acquires a spatial one (arrangement of oneself and life around).

1.2 Structure of the Unified Industry Classifier of Print Media

1.2. a Groups of publications by main parameters

CONSUMER PUBLICATIONS - printed media covering the most diverse areas of consumer interests of the population and intended for the average consumer (as opposed to scientific, scientific and technical publications intended for specialists of a certain profile).

CORPORATE EDITIONS FOR CONSUMERS - print media published by specific enterprises, corporations, associations for the purpose of informational impact on the final consumers of their products and services.

INDUSTRY, Narrowly PROFESSIONAL EDITIONS - print media, the content of which is of interest only to persons professionally associated with a particular industry or area of ​​management, production, commercial, etc. activities.

MINISTRY OF EDUCATION AND SCIENCE OF THE RUSSIAN FEDERATION

Federal State Budgetary Educational Institution

higher professional education

"KUBAN STATE UNIVERSITY"

(FGBOU VPO "KubGU")

Admit to protection in the SAC

Department head

d. philol. Sciences, Assoc.

N. P. Kravchenko

_____________________

"___" ___________2013

GRADUATE WORK

A GLOSSY ELITE MAGAZINE FOR WOMEN AS A NEW TYPE OF INFORMATION PRODUCT IN THE MODERN MEDIA SECTOR

Theoretical and economic parts

The work was completed by ____________________________________ Ya. A. Seredina Faculty of Journalism

Specialty 030901 Publishing and editing, general education

Scientific adviser Dr. philol. sciences, prof. ______________G. A. Abramova

Norm controller, teacher _______________________________ M. L. Drabkina

Krasnodar 2013

UDC 070:087.2 (079.2)

Middle, Ya. A.

A glossy elite magazine for women as a new type of information product in the modern media sector: a thesis at the Department of Publishing, Advertising and Media Technologies / Supervisor G. A. Abramova. - Krasnodar: 2013. - Theoretical part - 63 p., economic part - 10 p., practical part - 30 p.

In the theoretical part, the concept of a "glossy elite magazine" is studied, the prerequisites for its development and features, language features are considered, consumer properties and qualities of elite publications are compared.

The economic part of the graduation project presents the calculation of the cost, determination of the face value, selling price and profitability of the publication "Environmental Law".

The practical part of the graduation project presents edited materials from the publication "100 Ridiculous Resume".

Explanatory note

Theoretical part

Introduction

Glossy elite magazine for women as a phenomenon of modern mass culture

1.1 The concept of a "glossy elite magazine", the prerequisites for its development in the Russian market, its essence and features

2 Linguistic features of the texts of glossy elite magazines for women

3 The role of a glossy elite magazine in the formation of stereotypes of behavior, habits, and the image of a modern person

2 Vogue magazine analysis

Conclusion

Applications

Economic part

Calculation and analysis of economic indicators

List of sources used

Practical part

Editorial change

EXPLANATORY NOTE

The diploma project consists of two parts. The theoretical and economic parts are presented in the first section, the second section includes a practical part.

In the theoretical part of the first section, the concept of a “glossy elite magazine”, the prerequisites for its development and features are studied. The study examines the linguistic features of glossy elite magazines for women.

Particular attention is paid to the comparison of consumer properties and qualities of women's glossy elite magazines. A glossy elite edition is analyzed, recommendations are given to magazines on working with readers.

The purpose of the study is to give a typological description of glossy elite magazines for women, to establish the factors that determine the genre specificity of publications, to identify the features of their functioning, and to prepare recommendations for their improvement. This is the practical significance of this thesis project.

In the second section, in the practical part, the edited materials of the publication "100 Ridiculous Summary" are presented. The author uses both proofreading and editorial editing.

INTRODUCTION

Active penetration into the Russian market in the 1990s. foreign media was caused by objective reasons and played a certain role in the development of the Russian media market and the Russian economy and culture as a whole. We are talking about the intensive interaction of cultures, and primarily at the most ordinary, everyday, everyday level. Cuisine, clothing, home decoration, relationships between close people, light music, simple entertainment, sports and other similar topics that are accessible and understandable to everyone, best contribute to "building bridges" between different cultures. It is no coincidence that foreign magazines that came to the Russian magazine market in the second half of the 1990s had such a stormy, truly unprecedented success in our country.

In this sense, magazines for women such as Elle, Vogue and Marie Claire are the most interesting objects of research in the field of journalism. Each of them added a new stream to the modern Russian female mentality. The history of their entry into the domestic media market, the evolution of their style and concept after taking root in a new cultural environment, and finally, the changes that have occurred under their influence in the Russian women's subculture, as well as the transformations that have taken place in themselves - all this deserves close attention. and deep scientific analysis.

Over the years of its existence, elite women's magazines have occupied a narrow but very relevant niche in the information space. Any publication has a formed image of authoritative sources and an audience. A typological study of elite women's magazines is carried out taking into account these factors, and additional studies contribute to the most effective impact on the target audience.

The relevance of the topic of the thesis lies in the fact that glossy magazines have become an integral part of the life of a modern person, not only drawing women, but also men into the world of glamor. Dear life magazines are companions in everyday life, a standard of behavior and imitation. Whatever they are written about, their main feature is to preach a lifestyle that is ideal in the understanding of their readers. It is the regular reading of your favorite publication that allows you to objectively feel the possibility of touching the ideal, fabulous life, in which most of our, even the most contradictory, desires are fulfilled.

In recent years, the proportion of journal articles dealing directly or indirectly with consumer issues has increased significantly. This is explained by the fact that the sphere of consumption has turned from a secondary one into one of the most important social institutions of modern society, and the “simple Soviet person” has been replaced by a “consuming person”, whose main activity has become consumption. Glossy elite edition - is primarily a reflection of the needs of society. And it is in these publications that the media perform their entertaining function. The minimum scientific and analytical content of the materials, a large number of photographs and pictures that relax the attention and show the relaxation side of life.

The novelty of this work is determined by the fact that for the first time at the level of a diploma research, a glossy elite magazine for women is considered as a phenomenon of modern mass culture. In addition, this paper analyzes the concept and style of Vogue magazine, identifies its conceptual features and compares consumer properties and qualities with other elite women's magazines - Elle and Marie Claire.

The objectives of the study are to, taking into account the state of the modern media market in Russia, to investigate the history of the Vogue magazine and, based on the analysis, give a typological description of glossy elite magazines for women, to establish the factors that determine the genre specifics of publications, to identify the features of their functioning, to prepare recommendations for their improvement.

Work tasks:

to reveal the concept of "glossy elite magazine";

consider the historical preconditions for the emergence and development of glossy elite magazines in Russia;

study the structure of magazines and the organization of publications in them, explore the genre specifics of publications, identify the features of glossy elite magazines for women;

Compare consumer properties and qualities of women's glossy elite magazines "Elle", "Vogue" and "Marie Claire";

analyze the elite Vogue magazine.

The object of the study is the Russian editions of glossy elite women's magazines, their typological features in the conditions of the Russian media market and the peculiarities of their perception by the Russian audience.

The subject of the analysis is the content, structural, genre, typological characteristics of women's elite magazines "Elle", "Vogue" and "Marie Claire", the features of their formation.

The methodological and theoretical base in this study are: library resources, the Internet, print media in the field of glossy journalism. The theoretical basis of the study was the work on the theory of communication and public relations G.G. Pocheptsov, scientific communication by D. Price, typology of scientific publications by A.I. Akopova, E.A. Kornilov, M.V. Shkondin. Much attention was paid to the works of A. V. Zhukova, V. V. Bonner-Smeyukh, E. A. Plenkina, and R. M. Yampolskaya.

Practical significance. Summarized in the thesis, factual information about the practice of developing the women's segment of the magazine market can be used in the process of modeling an elite Russian edition. The theoretical information collected in this study will be useful in the development of a methodological manual for the study of periodicals, a special course, a special seminar, as well as in planning an elite publication model.

The structure of the thesis is determined by the sequence of research tasks. The work consists of an introduction, two chapters, a conclusion, a list of references and applications.

The research methods with which this work was written are as follows: analysis, questioning, descriptive and comparative.

1. Glossy elite magazine as a phenomenon of modern mass culture

1 The concept of a “glossy elite magazine”: prerequisites for its development in the Russian market, essence and features

In the early 90s. XX century in the country began the active development of the mass press. Among the most popular publications were women's magazines. The activation of the segment of women's periodicals was determined, on the one hand, by reader demand, and, on the other hand, by a commercial factor. Women's magazines are included in the list of publications most popular with advertisers. Significant success in the domestic media market was achieved by the projects of Western companies that presented versions of well-known magazines Elle, Cosmopolitan, Vogue, Marie Claire and others to the domestic audience, which determined the main trends in the development of women's magazine periodicals:

the prevalence of Western models of publications;

the formation and dissemination of certain values, mainly material ones;

use of the latest technologies in the publishing process.

During this period, the definitions of "glossy magazine", "glossy press", "glossy journalism" were widely used. The theoretical understanding of the phenomenon of glossy periodicals was reflected in the works of D. Golynko-Wolfson, Ya. Brazhnikov, O. Roginskaya, N.N. Mironenko and others.

When using the term “glossy magazine”, it should be noted that it is not essentially a term, only the word “glossy” is defined (glossy, glossy, lacquered, polished, smooth, mirror, shiny).

The meaning of the term "glossy magazine" consists of two meanings. Dictionary of the Russian language S.I. Ozhegov. :

) Straight: Glossy glitter cover, use glossy paper;

) Portable: gloss and brilliance in the transmission of information, the ideality of images, bordering on unnaturalness.

In his work entitled "Experimental psychology in Russian advertising" Lebedev A.N. defined the glossy magazine. A glossy magazine is a magazine that is designed for a specific readership, the main purpose of which is to form a certain lifestyle for the reader and help them achieve success by highlighting various aspects of modern urban life, focusing on beauty and gender communications.

What is "elitism"?

The formation of a circle of magazines, whose consumers want to be told about a lifestyle that corresponds to their material wealth and claims, and supply material for the so-called secular communication, information about new trends in fashion, interior design, jewelry, gave reason to call publications of this kind "elitist", and in some cases "elite". It is characteristic that the synonymy of these concepts, in a number of cases recorded in the program of the journal, does not cause irritation among publishers. But for specialists studying journal periodicals and linguists, these epithets turned out to be at the center of research interest. The adjectives “elite” and “elitist” have not only become very widespread in recent years, but have gained a kind of “second wind”, and not only in the media. According to the exact definition of academician V. G. Kostomarov, this circumstance is due to the fact that these words fell into a socially significant context.

In the first sense, the word "elitist" is usually combined with the nouns "education", "educational institution", "school", "university", "lyceum", "college", "gymnasium", "family", "public", "troops". ”, “military unit”, “military unit”, “clinic”, “hospital”, “house”, “housing”, “apartment”, etc.

There are much fewer nouns that combine with the word “elitist” in the second meaning, and they refer exclusively to the intellectual sphere of human activity (art, culture, painting, music, cinema, theater, ballet; literature, writer, artist, composer, reader, spectator ) .

As for the adjective "elite", in the mentioned dictionaries until recently it was interpreted only in relation to the second meaning of the word "elite" - "the best, selected seeds, plants and animals." That is, the definition of "elite" for many years was used exclusively as a term applied to crop and livestock.

Over time, this adjective underwent serious semantic transformations - its lexical meaning and compatibility expanded, which is of significant interest to both researchers and native speakers. This new, broader meaning is formulated as follows: "The best, selective, highest quality."

The circle of nouns used with the adjective "elite" in this sense is rapidly expanding, literally before our eyes, and it includes more and more new words: housing, house, apartment, hospital, clinic, troops, military unit, military unit, shoes, clothes , wine.

Interestingly, the nouns used with the adjective "elite" in the sense under consideration and with the adjective "elitist" in the first sense partially coincide, as a result of which, in some cases, paronymic phrases are formed that at first glance resemble synonymous constructions, but in fact differ in meaning: elite and elite housing, elite and elite house, elite and elite apartment, elite and elite hospital and others.

The phrases “elite housing”, “elite house”, “elite apartment”, “elite hospital” mean that these objects are intended or belong to the elite, that is, representatives of a select, privileged circle of people. When these nouns are used with the adjective "elite", we are already talking about the high quality of housing and services, regardless of who these objects belong to or for whom they are intended.

E. S. Kara-Murza discusses the shades of the meaning of the adjective “elitist”. Based on the analysis of advertising names and advertising texts, the author came to the same conclusion regarding the use of the above adjective, drew attention to the “Explanatory Dictionary of the Russian Language at the End of the 20th Century. Language Changes” (St. Petersburg, 1999), edited by G. Sklyarevskaya, who offers such words as “prestigious”, “exclusive” as correlatives to the adjective “elite”.

The use of the word "elitist" in both meanings presented above focuses the social contradictions of the last decade and in some cases can cause an undesirable socio-psychological effect. Therefore, when forming the names of institutions, firms and when constructing advertising texts, it is recommended to apply linguistic and ethical criteria that correspond to the regulation on unethical advertising (the law “On Advertising”) and are similar to the principle of political correctness adopted in the practice of Western media. “One should use evaluative words like “elitist” and “exclusive” with extreme delicacy, which can cause negative social emotions if they are perceived by a non-target audience. They should not be used to name domestic goods, firms and institutions, they should not be used in texts published in mass publications, ”writes E. S. Kara-Murza about this.

In women's journalism, due to the semantic mixing of the words "elite" and "elitist" with adjectives such as "prestigious", "exclusive", "luxurious", "chic", "refined", these paronyms have acquired a shade of superficiality. The reason for this is explained by the editor-in-chief of the magazine "Dear" E. Veselaya. She writes: “Firstly, because they do not mean anything, but are written and pronounced at the moment when the author wants to “let the glamor in,” but lacks the ability to describe something. Moreover, by chic, we stubbornly mean something very expensive and shiny ... Secondly, literally everything is becoming “luxurious” with us: from furs to washing machines. Thirdly, these words are usually used in the case when you need to beat the "foam" ".

The above linguistic considerations are sufficient to "apply" them to the category of "readership". So, "elite audience" means "an audience consisting of representatives of the elite", while "elite audience" is an audience that consumes a quality product (in our case, a magazine edition).

Thus, a glossy elite magazine is a high-quality selection of illustrations, where there is a minimum of text content, designed for an upper-middle-income buyer with a dream of a beautiful life. It follows that the phenomenon of a glossy elite magazine is a kind of encyclopedia of glamorous life, a colorful picture, a set of articles that teach how to live, what to read, what to watch, how to dress and what to give to a loved one. A magazine with high printing quality, beautiful illustrations that attract the reader's eye and encourage them to buy a thing.

Due to the attempt to assign rules, norms of behavior and fashion to the reader, this category of magazines is disrespected by people who are spiritually enriched, free from stereotypes and burdened with intellect. For the bulk of glossy publications, it is not the reader with his interests and worldview that is primary - advertising is primary.

The idea of ​​glamor was inspired by modern myths shining through the pages of fashion magazines (the myth of Cinderella, the myth of superheroes, the myth of eternal youth, the myth of miracle cures). The peculiarity of this illusion is that each reader has his own myth, although gloss is common to all. This is where the roots of the very leveling of the personality (depersonalization) lie, to which blind adherence to the “fashionable” stereotypes imposed by the system ultimately leads.

The main and fundamental difference between an ordinary glossy magazine and a glossy elite magazine lies in the composition of the goods advertised in them: in elite magazines, as a rule, advertising is presented almost exclusively for luxury goods and other high-end goods, while glossy magazines advertise a wider range of goods. everyday demand. Another important difference is the level of articles, style and language of their writing.

There are several signs by which a publication can be classified as a glossy elite one:

First. It's in the word "glossy". These magazines usually come out once a month and are much thicker than the weekly ones. This means that they are read for a long time, often pass from hand to hand. Therefore, even for purely practical reasons, they are printed on thicker paper and have a durable glossy cover, which, by the way, significantly affects their price.

Second. Concerns the concept of "life style". Reading the life style magazine, a person gets a more or less complete picture of the lifestyle of the social group to which he belongs or wants to belong. Moreover, he receives this information concerning the most diverse aspects of his relations with the world. A person between the lines absorbs the philosophy, way of thinking, ways of communication and, in general, the language (in the broadest sense of the word), which are inherent in this social group.

The third. A sign of these publications is the highest printing quality. The illustrations in these magazines are the clearest example of all the informative-pictorial and artistic-expressive possibilities of modern photography. This is very important, because when purchasing a magazine, readers will first of all pay attention to its colorfulness, paper quality and clarity of printing.

Fourth. This sign follows smoothly from the previous one: glossy elite magazines are not read, but watched. The environment of a modern person is a special visual space, everything tends to be visual. And in glossy elite magazines, this is a dominant feature, it is obvious that these printed products are intended for recreation. Such magazines are practically not designed for reading, they capture a person not with their informative content, but with a vivid image, symbolizing success, happiness, wealth.

Fifth. The glossy elite magazine is a product of mass culture, which is designed for the reader's relaxation, therefore it completely avoids serious topics, is apolitical and creates the illusion of an eternal celebration of life. The most winning topics are selected, all problems and difficulties are removed from the field of view, thus, the reader is given the illusion of his own “glossy” life.

Summarizing the above, we can say that the authors of glossy elite magazines give persistent recommendations on how to live: "We will teach you how to achieve success," they promise readers. And behind this promise is another, more significant and voluminous: "We will tell you what success is." The essence of the “glossy” life attitude is the fundamental absence of problems that cannot be solved. The main thing is a positive and technological approach plus purposefulness. At the same time, attention is paid not to the process of internal changes, but to vital external circumstances, which dictate the connection and application of one or another internal setting.

“Glossy, illustrated magazines are print media. They occupy an intermediate position in the media industry between newspapers and books, which determines their specificity. It lies in the fact that initially, from the moment of its inception, magazines were called upon to fill the gap between newspapers and "serious", "intellectual" books. On the pages of magazines, information of an entertaining nature (fashion novelties, advertising of goods and services) alternates with materials on history, art, cultural heritage, which are accessible to the general reader in form and content.

There are many glossy magazines, but the list of their topics is surprisingly sparse: food, sex, shopping, resorts, hygiene. They differ not in direction (it is the same for everyone), not in the style of writing, not even in design, but by gender - magazines for men and magazines for women. But there are exceptions, very pleasant, authoritative and intellectual.

As a consequence, the uniformity of the endings of all life stories described in glossy magazines: this is the restoration of normality and stability. It is impossible not to pay attention to the fact that the glossy magazine was a kind of counterbalance to the huge flow of negative information. A modern person is subjected to pressure from negative news from early morning until late at night, so a glossy magazine and all those media that specialize in describing and reviewing the vices of modern society are two peculiar bands of modern mass culture.

The functional side of a glossy elite magazine is naturally associated with a cultural phenomenon, a product of the leisure industry, its appearance is due to the fact that due to the appearance of an excess of free time, “leisure” in a significant layer, people increasingly need to “kill time”, i.e. to kill time. e. one of the functions of a glossy magazine is to fill free time. In addition, it is possible to single out an entertaining function, a glossy magazine, and therefore avoids serious topics, specializing only in problems that do not require complex decisions, while maintaining some intrigue throughout the story. Its main function is to relieve stress or distract the reader from pressing problems, the solution of which at the moment is not possible. This is the most important, undoubtedly, positive function, which allows you to get the necessary emotional discharge and recharging in such cases.

The target audience of glossy elite magazines are wealthy people whose monthly earnings exceed the average salary, because for whom, if not for them, advertising of expensive alcoholic beverages, clothes from famous fashion houses, Swiss watches and premium cars is intended. But everyone reads glossy elite magazines! What is the reason? Everyone wants to live beautifully, and the cheapest way to join beauty is to buy a fresh issue of your favorite glossy magazine at the nearest kiosk, and drown in an abundance of articles, stupid tests, beautiful photographs, enchanting smells and ubiquitous advertising.

The main subjects of the glossy magazine concern self-care (health, sports, cosmetics, fashion), home care (cooking, design), car care, family arrangements and the formation of a certain lifestyle characterized by subordination to time cycles (the week is divided into weekdays and weekends). , there are still holidays and vacation time in the year). These cycles determine occupations and lifestyle.

The first glossy magazines were created in Europe at the beginning of the 17th century. These magazines were mostly only with fashionable pictures. But thanks to them, fashion reached the people. At first, the magazines were with yellow and rough paper, and the pictures in them were simply decorated. And only much later, when the paper industry and printing allowed the paper to become shiny, did they become glossy. And then, not pictures, but photographs appeared in them. Initially, like photographs, glossy magazines were black and white and glossy matte. Many of the illustrations were hand-drawn, and that's what kept the amazing aesthetic. But in the 30s of the last century, color came to printing and such magazines as Vogue, Harper's Bazaar began to introduce color schemes. Thus, fashion trends spread to the masses. It can be argued that this is how the first product advertising.

In his article, Korkonosenko S. G. writes that the rapid development of the glossy magazine industry was associated primarily with the general process of development of bourgeois culture, the modernization of printing technology, a significant expansion of the areola of distribution of printed products, a decrease in the delivery time of numbers, a decrease in the cost of publications, and an expansion of the readership. audience through the more general content of publications. These and other changes that have affected the production and distribution process have turned magazines into the most popular, accessible, mass media type.

The "golden age" of the glossy magazine industry was the 1920s - 1950s, when several media giants were founded, for example, "Time" (1923), "New Yorker" (1925), the first men's magazine appeared - Esquire. Circulations grew steadily; the quality of illustrations improved, making magazines more attractive to both advertisers and readers than radio. However, the rapid spread of public television, its great visual impact on the audience had a negative impact on the market of illustrated publications, magazines began to lose to television in the competition for advertisers and consumers of media products. Overcoming the crisis required the owners of journals to change their publishing policy. On the one hand, innovations touched upon the conditions and cost of subscription (for example, the price of a one-and-a-half-year subscription was less than an annual one), optimization of retail sales of individual issues, etc. On the other hand, a study of the readership of the magazine began, attempts were made to "draw" a portrait of a typical reader: gender, age, profession, marital status, place of residence, etc. Such studies allowed publications to acquire greater targeting, become more specialized, focused on a specific media segment market, increase its economic and communicative efficiency. The change in publishing policy, the expansion of distribution channels of publications made magazines more attractive in the eyes of advertisers, since they provided almost “direct” access to the target audience of the advertised product or service.

On the pages of the magazines, various dresses, jackets, frock coats and top hats were depicted, as well as various accessories. Later, sketches of a variety of furniture and interiors began to appear. From these magazines, people began to learn what is now in fashion and what color or style to prefer when they come to the store to buy. In addition to magazines dedicated to fashion and interiors, others have appeared that cover the literary novelties of books, cultural life and achievements in science. Men read mainly intellectual magazines, and ladies who care about their appearance, fashion magazines.

One of the most popular glossy magazines is the American Cosmopolitan, which has a circulation of about a million copies. The magazine is considered the most popular for young women because of its ironic tone and independent style. The fact that the magazine is very popular even now speaks of the professionalism of the publications. The Russian version of Cosmopolitan is a monthly color glossy magazine for women published by Independent Media & Sanoma Magazines since 1994. Founded in Moscow in March 1992 by a group of Dutch investors led by Derk Sauer, the publishing house Independent Media (IM) received a license in 1994 to publish women's, men's and family glossy magazines in Russia. At the same time, he began to release a licensed Russian-language version of the Cosmopolitan magazine, owned by the American Hearst Corporation. Since 2005, IM has been part of the European media holding Sanoma and has become Independent Media & Sanoma Magazines (IMSM). Cosmopolitan is the most popular women's magazine at present. Despite the fact that it is focused on the female gender, some of its materials are also read with interest by men. "Cosmo", as it is often called, is distinguished by the simplicity of the presentation of the material and the superficiality of the presentation. Most of the visual information, one way or another, is advertising material. For this reason, the entire magazine turns into a kind of advertising catalog, diluted with low-value grains of non-advertising information, which, according to the publishers of Cosmopolitan, is best suited for the female half of our society.

The era of glossy journalism required a new symbolic language, which became a vivid illustration. An illustration in a glossy magazine plays a special role; it is a visual code that builds a system of symbolic values: aesthetic, moral, social, gender, and others. A glossy magazine naturally, purely visually, presents the consumer with a generally recognized version of fashion, the social, socio-gender world and relationships in it, i.e. suggests what others expect of you in a more or less typical situation and what your actions should be. However, illustrations, even in glossy magazines, almost always require the support of text: words enhance the narrative power of illustrations.

Articles in glossy magazines are most often devoted to a specific range of topics: fashion, design, shopping, leisure, health, hobbies, careers, interpersonal relationships. For example, from the materials posted in the "Life" section, you can learn about the brightest and most interesting events in social life. Film premieres, fashion shows, awards in various fields - everything that attracts the attention of stars is interesting, according to the creators, and to us.

Since different journals are devoted to different areas, the goals for which this or that material is written will be correspondingly different. The circle of readers in many cases is also divided by interests, class and age. Some publications intend to use a style that may completely alienate readers outside of his circle. Their main goal is to help their audience feel like they are part of a certain community. Or at least make it clear that this magazine is only read by people with the same views, let's say on music or fashion.

Particular attention should be paid to the meaning of words, images and colors on the cover of a glossy magazine. The combination of these elements is built in such a way that the choice of the buyer is ideally predetermined. Bright colors, attractive images, an intelligible and concise phrase of the totality with an intriguing meaning. All this should convince the potential buyer of the value of the acquisition. The one who bought the magazine, as it were, becomes involved with the “glossy world” depicted. Thus, the creators of the magazine, in accordance with the general characteristics of the human psyche, build a strategy for the successful promotion of their products.

One of the brightest manifestations of value stability was glossy magazines, cheerfully and in many variations serving the newly emerging state capitalism. Most of them are addressed to women. The thematic and value orientation of glossy magazines is motley and diverse: truth and knowledge, science and secular gossip, goodness and justice, home and design, garden and vegetable garden, beauty and health, patriotism and education, family and sexual minorities, hobbies and leisure, advertising and manufacturing, consumer goods and printed matter, information services industry and sports. In this regard, it seems relevant to us not only to classify women's magazines according to their addressees, thematic preferences, positioning and socio-cultural role, but also to consider the reality of the functioning of women's magazines in culture, to explore how the women's community is consolidated around these magazines and what value content unites its members. Therefore, we dedicate our study to women's glossy magazines as a phenomenon of mass culture. The authors explain this for three different reasons:

The first reason is that at the end of the 20th century, in connection with the formation of the mass culture of the consumer society and the increased technique for manufacturing printing products, the growing demand for entertainment publications, a new type of printed matter came into the life of culture - an illustrated magazine, in the very specific name of which the main way of transmitting socio-cultural information and visual-illustrative is fixed. These magazines were designed to illustrate the most colorful and festive fragments of the life of the cultural community, but gradually took on the additional burden of public functions, previously mastered by journalism, photography, literature and fine arts. Therefore, today illustrated magazines are a developed industry that performs in the culture of consumption not only economic and service information, leisure and entertainment, hedonistic, but also power (ideological and managerial, value-educational, stratifying functions. The cultural significance and multifunctionality of illustrated magazines make them attractive object of scientific study.

The second reason why we turn to the study of the audience of glossy magazines is the lack of systemic philosophical and cultural studies concerning the history of the emergence, causes and ways of development, the actual functioning of glossy illustrated magazines. Meanwhile, it seems relevant and timely to reveal the causes and mechanism of the emergence and existence of gloss in the mass culture of the consumer society, to trace the trends of interaction with previous types of magazine products: literary, artistic and political propaganda publications, in order to assess the strength of the social impact of illustrated magazines, their role in the modernization of the consciousness of modern Russian society and outline the prospects for the development and influence of women's gloss on culture in the future.

The third reason we turn to the study of women's pictorial magazines and their audiences is that women's audiences differ from their specific social role in culture. The gender role of a woman has always been to substantiate and implement the ideas of stability and statehood, and at the same time, the modern female audience lives in the conditions of the “third wave of feminism”. The female reading and writing (intellectual) society brings to the masses a new interpretation of the ideas of male and female identity, personal dignity, the value of life, a new understanding of the body and sex, duty and rights, freedom and responsibility. All this makes the study of the female readership especially relevant both in terms of posing and solving specific female gender problems in glossy magazines, and as a kind of collective subject of reading - an “imaginary community” that has similar needs and preferences, a system of values ​​and a way of life.

In all these problems, the gender aspect is extremely important. She is interested in the female community of magazine readers as a community within which gender socialization takes place and a gender identity is developed. Reading and discussing glossy magazines is interpreted as communication between a woman and a woman, in which “becoming a woman” takes place. .

It should be noted that the development of the glossy press modified the typological characteristics of not only women's publications, but also business publications, magazines for children, youth, men, publications segmented by interests (for motorists, hunters, fishermen, gardeners), etc. types of publications considered as glossy, suggests that the term "glossy magazine" can be used in the meanings of high-quality publishing and printing products and a publication that offers the audience a certain model of life arrangement, behavior, indicated by the categories "gloss", "glamour".

Consider the main postulates that form the basis of the negative perception of women's glossy periodicals:

The women's glossy press presents a range of ideal images, the pursuit of which is associated with approaching social success. The social types dominating in the publications belong to the middle and upper-middle-income segments of the population; the readership of the magazines is women who strive to fall into these social categories. However, the possession of the attributes of "high society" does not guarantee real entry into it, which provokes the myth of possible social identification.

The images in the publications do not represent real people, but unified types with fashionable body proportions, eye color, etc. The “glamorous” type of beauty denies natural beauty, orienting the consumer of fashion products towards eternal youth.

The glossy press is not journalism; in these publications, illustrative material and commercial information are predominant. The period of development of glossy women's publications is coming to an end.

Supporters of a negative attitude towards women's glossy magazines motivate their position by the fact that this periodical does not reflect the real course of life events, but forms its own worldview, contributes to the creation and replication of myths that distract the audience's attention from really important events. These concepts in the activities of the media have a dual nature of vision, as a result of which they can be interpreted both in positive and negative directions. Considering aspects in the activities of the press, in this case in women's periodicals, it is necessary to take into account that magazines reflect the cultural and social reaction to the changing place, role and position of women in society. 19th century editions were also aimed at highlighting the change in the status of a contemporary, but they focused mainly on identifying civilian images, not idealizing the attributes of external beauty. In the XX century. there was a shift in emphasis from the cultural, moral characteristics of a woman to her appearance. If Soviet women's magazines considered the socio-political and social spheres of the life of the female population, then the modern press has completely moved away from political topics, which happened not only because of the spread of foreign periodicals and Western models of behavior standards. Even at the end of perestroika, sociological surveys showed that Russian women did not show interest in political transformations, and problems of the intra-family level were more relevant for them. Modern women also see their primary purpose in the implementation of the functions of a wife and mother. These aspirations are supported and developed in women's publications that offer advice on beauty, psychology, health, and children's pedagogy. The thematic balance of publications is undoubtedly broken in the direction of materials about beauty and the fashion industry, which is explained by the economic and cultural factors of the development of society at the present stage. Myths about beauty, finding harmony through the improvement of external data are today the main ones in women's publications, which is also a reflection of the current state of society. Myths are created with the active participation of the press, but the functional and thematic orientation of myths depends on specific socio-political, economic, cultural conditions. During the Soviet period, women's magazines created and replicated political myths, the modern press for women forms myths on a cultural basis, idealizing external aesthetics.

In the first chapter, we defined the essence and significance of a glossy magazine, the prerequisites for development, and the signs of a glossy magazine.

We examined the types and gave a definition to a glossy elite magazine. “A glossy elite magazine is a high-quality selection of illustrations, where there is a minimum of text content, designed for an upper-middle-income buyer with a dream of a beautiful life. It follows that the phenomenon of a glossy magazine is a kind of encyclopedia of glamorous life, a colorful picture, a set of articles that teach how to live, what to read, what to watch, how to dress and what to give to a loved one. A magazine with high printing quality, beautiful illustrations that attract the reader's eye and encourage them to buy a thing.

So, at the end of XX - beginning of XXI centuries. In the domestic press market, there is an active development of women's publications. In connection with the socio-historical features of the functioning of domestic periodicals in the segment of women's publications, the model of a Western glossy magazine has established itself - a publication with a glossy cover that popularizes fashion trends. The mass audience of these publications, advertising investments ensure their effective development, which makes it possible to carry out audience segmentation and publish magazines targeted at various reader groups.

2Linguistic features of the texts of glossy elite magazines for women

The study of the specifics of the language of the mass media is currently one of the important problems, since with the development of technical means, in particular computer technology, with an unprecedented increase in the amount of information consumed by mankind, with the expansion of international relations, with the improvement of techniques and methods of dissemination of mass media, various types of mass communication are becoming increasingly important in the life of society.

The study of the linguistic features of the texts of glossy elite magazines requires the use of a comprehensive, integrative approach that involves the creative application of the conclusions and promising ideas contained not only in works on linguistics, but also in related scientific fields - sociology, cultural studies and psychology.

The concept of "journal" has undergone some changes over time. In modern studies on the typology of the media, a journal is understood as a periodical printed publication with sheets bound in the spine, which has as its intended purpose an operational and up-to-date reflection of the socio-political, socio-economic and cultural development of society, contains materials of various types and genres, united by a constant thematic heading , and is intended to meet the diverse interests of readers.

In the texts of women's magazines, there is a steady tendency to transform verbal communication into video-verbal communication, which is reflected in the specific graphic design of the information presented. The generally accepted designation for all types and ways of using non-standard spelling in domestic research has become the term "graphon", proposed by V. A. Kukharenko. Initially, the term "graphon" was used to refer to the ways of conveying various phonetic features of sounding speech in writing. In modern linguistics, the concept denoted by this term has expanded and received a new understanding. Following A.P. Skovorodnikov, under the term "graphon" we mean a figure of speech, which is a stylistically significant deviation from the graphic standard and / or spelling norm.

The texts of women's magazines use the following graphic language tools:

hyphenation:

Morphemic articulation of a word with a hyphen.

Personal pronoun.

This is the title of the material on how to behave in a new place of work. Such a division of the word is playful in nature, two meanings are superimposed: on the one hand, the pronoun is a part of speech used instead of a name (noun, adjective, numeral) and its category (personal), on the other hand, the possession of "something").

Transfer of intonational features of sounding speech.

And if earlier they congratulated me, now they called to offer condolences and say: “Well, you have it and it hurts-oh-oh!”

Today I left the dentist, and I didn’t have any pain or pain!

Eliminate spaces between words.

Fortunately, time has passed since then, which gave me not-say-how many wonderful men ...

One of my friends turned pale, turned blue, blushed, changed the transparent bag to an opaque one, so that no one would see the purchase.

Uppercase instead of lowercase.

In this example, the graphone conveys the accentuating intonation:

Adore. I LOVE when a girl looks like a girl.

So, hyphenation and uppercase letters instead of lowercase letters, as a rule, convey intonation features in writing, that is, the specifics of sounding speech, while highlighting significant segments of speech.

Optional quotation marks.

... in the husband's family, a different, patriarchal model of relations was adopted, where the father was like the king of beasts, and it was women who were "nimble".

Spacious "treshka" met with silence.

The colloquial "three-ruble note", that is, "three-room apartment", taken in quotation marks, indicates that the author of the lyrical story feels the stylistic "foreignness" of this word.

With the help of a graphon, occasional graphic derivatives can be formed. This process is called graphic derivation.

UILLUSTRATION.

This is the title of an interview with showman Will Arnett. A graph derivative formed by contamination: Will + illustration.

In these words, a root or some combination of letters is highlighted, which leads to a rethinking of this word.

There are examples of the so-called usual graphic derivation, when with the help of a graphic derivative, not only expressive, but also neutral words with a nominative function are formed:

"Party week requires stunning outfits and ... a competent approach to the party wardrobe" - wardrobe for a party (eng. "party" - a party)

"Play-list" - a sheet with the music being played (English "play" - play).

This group of graphic derivatives can also be attributed to the group of graphons formed by the inclusion of letters of the Latin alphabet into the graphic image of the word.

The inclusion in the graphic image of the word of elements of other sign systems (letters of the Latin alphabet, numbers, various symbols, and so on). This type of graphon is found in the headings of women's magazines.

Example: thing, Beauty hits, Beauty frame, YOU&OH, Cosmo-experiment, Cosmo-reading, Cosmo magic. Cosmopolitan facts, MINI details, MINI guide, fashion news, beauty news. MINI

Often the names of the headings include the name of the journal itself, which focuses the reader's attention on which edition is in his hands, adds some exclusivity to the information. This seems to be necessary, since the thematic content of women's glossy publications is duplicated and each magazine seeks to "fix" itself in the minds of consumers.

Highlighting a part of a word that is significant in terms of impact on the reader using various effects (for example, colors) to “increase” the meaning.

THE FATHERS ARE SUITABLE.

This is the title of an article about young women whose men insist on having a child, and the woman, for some reason (yet), does not want to add a family. The word "GOOD" is highlighted by analogy with the seal "GOOD".

Selection committee.

This heading of the material is about what kind of checks young people can arrange for their chosen ones. In this example, a part of the miss is highlighted using color.

The texts of women's publications are characterized by numerous foreign inclusions:

Thanks to Marilyn Monroe, white mink fur has been considered a symbol of dolce vita for half a century.

Here it is - dolce vita at its best!

In the examples above, a fixed expression is used, borrowed from the Italian language dolce vita - "sweet life", denoting the "sweet life" of rich, jaded people in a bourgeois society. In Russian, there is a double use of this turnover: both in the original language and in Russian transcription (dolce vita).

Often the use of foreign language inclusions is determined by the desire of the authors for the novelty of the form, the freshness of the syllable:

As the French say, au contraire.

I am entirely in favor, and let him practice for a while, for example, prepare a romantic party for the two of us.

To tell the truth, I am very proud of myself for being practically self-made.

In the examples given, foreign inclusions can easily be replaced by Russian-language equivalents: the French "aucontraire" - on the contrary, the English "romantic party" - a romantic evening, and "self-made" - made (a) himself (a).

In general, such additions do not complicate the text, they are easily perceived and adequately interpreted, which is consistent with the idea of ​​glossy publications as "light reading". Moreover, the use of words in the original spelling is not always appropriate. For example, it seems unmotivated to use such words as “make-up”, “online”, which already have transliterated spellings recorded in dictionaries in modern Russian.

The language of women's magazines is characterized by an intensification of evaluation, primarily positive, rough vocabulary is used by the authors when characterizing men to create a negative image as opposed to a successful and independent woman.

Sometimes when I look at you, as you sit at the table or behind the wheel in some of your thoughts, with your crest on your head, and a feeling of guilt overwhelms me.

Build a speech not with “how dare you be such a pig!”, But with your feelings about this

... all of a sudden you go to a fashion model, grab an apartment, steal money and saw my sofa.

The texts of women's publications reflect the ways of expressing assessments that are characteristic of women's speech. For example, these are constructions with the words “such”, “so”, “what”, “how”:

It's so cold it's just wow!

She looked into his bottomless eyes, at the bottom of which tenderness glimmered.

What a style, just a pathology of the fundus!

How will he love you with such a terrible orange peel?

So, the texts of glossy elite magazines for women are characterized by the use of jargon, colloquial, familiar, stylistically reduced vocabulary, which reflects the general trend of democratization of language and speech, the interaction between the literary language and non-literary elements.

The texts of women's glossy publications are characterized by the active use of imperative forms. First of all, this is the abundance of verbs in the imperative mood, which is observed both in the titles of articles:

Learn to swim

Relax like a king

Get to know yourself better

and in the texts of the materials themselves:

Never start a relationship with a man out of pity

Remember that the services of a psychoanalyst are expensive.

Imperative is reinforced by the use of the verb in the singular. A specific form of the appellative is the appeal to the readers on "you" of the authors of the articles of the magazine "Cosmopolitan" and a number of other publications. Addressing the reader to "you" creates an atmosphere of friendly conversation, confidential conversation.

In women's publications, it is allowed to use deminative derivatives with a negative emotional attitude of the speaker to the described situation:

Also, probably likes to read detective stories.

Not a crime, of course, but the sediment will remain.

Other meanings can be added to the diminutive meaning of the deminutive, such as pejorative:

Wrinkling your finger, shaking the air with bells and drumming your fist on the table, you promise us severe punishment every time ...

It seems comical that the small size (finger, cam) is not sufficient to perform the intended function.

Thus, deminative forms perform primarily an axiological function. At the same time, the evaluation expression affects the formation of the value judgment of the addressee of the text and thus acts as a particular aspect of the implementation of the addressee's voluntary goal setting.

Most often, parceling in women's magazines is used:

.In the characterological function:

Yes, if I want, I can watch melodramas all day long! And

.As a play trick:

I felt like a winner. In the competition of losers.

.In order to update the created image:

At this moment, David Bowie personifies an unyielding will and incredible strength of character. And gladiolus sticking out of the mouth.

.To simulate the spontaneity of oral communication:

For me, the rule "Be yourself" has always worked. Because you can pretend for a week, a month, but for a long time - it is impossible.

.To transfer logical stress:

A friend will solve the problem herself. When it calms down.

.To facilitate the perception of a structurally complicated syntactic construction:

The life of a man is an unpredictable thing. Suddenly, it suddenly turns out that in order to save his homeland, he needs to penetrate behind the lines of some enemy. Or maybe tomorrow they will offer you an interesting job in Antarctica, and then M. will say that no, they say, Bublikov, I'm sorry, love is love, but I personally won't let you go to Antarctica either. Or he gets sick with something very rare and dangerous, in which case it would be easier for him to fade away all alone, so that later he could complain to his friends on the Internet how meanly he was abandoned.

Summarizing the above, it should be noted that women's magazines are characterized by the widespread use of insert structures. Plug-in constructions are incidental remarks, additional information, often insignificant in content and not always related to the subject of speech.

1.3The role of a glossy elite magazine in the formation of stereotypes of behavior, habits, image of a modern person

glossy elite magazine woman

Fashion glossy elite magazines have become a bright, “colorful reflection” of reality and even a part of the lives of many young people. In the late 1990s such magazine brands as men's Men's Health, GQ, Maxim, Playboy, FHM, Penthouse and women's Cosmopolitan, Glamour, come to the Russian media market one after another, "Go", "Vogue", "Mini", "Sex and the City". In pursuit of commercial success, such publications bring to the fore information materials that are the least significant in terms of the value orientations of the readership. Covering all spheres of life of modern men and women, many of these publications claim to shape the lifestyle of their reader. For the entire array of glossy elite periodicals, columns devoted to reviewing new movies or presenting a calendar of interesting events, promotional cultural events, comics (various mini-stories in pictures) have become the norm, while actual social problems are not actually touched upon or ignored.

Young people, readers of the above magazines, form certain standard stereotypes that are far from the system of values ​​familiar to the older generation. We are talking, in particular, about early sexualization carried out through “sexual enlightenment”, focusing on non-traditional intergenerational relations, about lifting the system of prohibitions, about setting consumerism as a life position, hedonistic attitudes, i.e. desire for pleasure and sense gratification, and so on.

The lifestyle of people in the world is increasingly approaching a single standard. Cars and computers, glossy magazines and soap operas, hit parades and ratings, hamburgers and Coca-Cola - these are the components that form a single new world and modern mass culture. “The presence of a common sociocultural field manifests itself first in material culture (housing, clothing, food), then in the field of spiritual production, which entails changes in the language of mass communication (linguistic expansion occurs), the structure of social relations (democracy and individualism) and, as a result, - value systems". This is how mass culture is born. When “mass culture” is consumed, the mechanism of “suggestion and infection” operates. A person, as it were, ceases to be himself, but becomes part of the mass, merging with it. He is infected by the "collective mood". At the same time, people often create idols for themselves from movie stars, TV presenters, fashion designers, popular writers, which is largely facilitated by the advertising created around them. "A man fascinated by glamorous myths can lose control of his life, if fashion experts and style consultants start to decide for him, he can be completely inside the consumer mechanism." It should be noted that over the period under study - ten years - the share of journal materials directly or indirectly devoted to consumption issues has increased significantly. This is explained by the fact that the sphere of consumption has turned from a secondary one into one of the most important social institutions of modern society, and the “simple Soviet person” has been replaced by a “consuming person”, whose main activity has become consumption.

However, there are positive aspects to the Gloss phenomenon as well. Positive functions, for example, include the possibility of relaxation when reading materials that distract from problems, the solution of which is not possible at the moment, which undoubtedly makes it possible to obtain the necessary emotional release in such cases. In addition, it still contains useful and necessary information, for example, what are the rules for interviewing with an employer, how to lead a healthy lifestyle, advice and consultations from a psychologist, etc.

The influence of certain information on a person depends on his subjective perception and on the personal characteristics of the reader. Someone perceives these magazines as reading for leisure, one-day literature, and rightly so. But there are people who take glossy magazines too seriously; as a guide to action (which is worse). Glossy readers seem to read not only to learn something new for themselves, they experience reading as a kind of life, and the magazine itself sometimes replaces reality for them. This is due to the high identification of the reader with the heroes of the materials. And this is unexpected from a psychological point of view, since the social distance between them is most often very large, which should make it difficult to search for signs of similarity. After all, not everyone can afford the luxurious life that is presented on the pages of expensive life style magazines. Therefore, it is required to identify additional explanations, indicate other mechanisms for deep inclusion of readers in the materials of glossy magazines, give explanations: what is written in magazines can be taken into account, but not blindly follow their instructions. .

Glossy elite magazines are a bright (both literally and figuratively) phenomenon of modern life, and the trend is such that they can be expected to continue to flourish. In particular, for advertisers, this is a convenient means to reach the desired consumer audience. The main task of publishers is to strengthen the position of the brand in a competitive market. The position of a brand in the market is its image in the minds of consumers. Currently, the problem of positioning printed publications is very relevant. “Journals as a sector of the printed press is one of the most dynamically developing in the entire market, it is practically not subject to legislative restrictions. For advertisers, glossy elite magazines are an effective way to reach a consumer audience. In addition, advertising plays an important role in replicating not only goods and services, but also consumption styles. According to Baudrillard, it is advertising that is best able to tell us "what exactly we consume through things." It should be recognized that most glossy magazines are now actively engaged in shaping the tastes of the magazine's audience in order to maximize the usefulness of advertising placed on their pages. Most of the time, it's just an illusion. However, the peculiarity of the perception of a glossy magazine by young readers lies precisely in this.

"I am perfect" in glossy magazines. Sheinov V.P. is trying to answer the question: why are neither newspapers, nor radio, nor television able to influence the formation of “I am ideal” with such force as glossy magazines do? .

Firstly, it is vision that is the leading spatial analyzer in humans. Most of the spatial information comes through the visual analyzer. Moreover, the visual analyzer has its own spatial organization associated with the toponymy of the retina. “Proof of the visual nature of images can be the discovery in them of information inherent only in the visual modality (for example, color). Even Ananiev formulated the position according to which the dominance in the psyche of the visual system is determined by the fact that it plays the role of an internal communication channel between all analyzer systems and is a signal converter.

Secondly, the kinesthetic sensation itself, namely, touch (in the form of turning pages) in combination with visual information, in our opinion, provides the very “glossy effect”, in which internally visualized “blurred” images receive outlines and become tangible, and therefore objectively perceptible. In his work, V.S. Tyukhtin wrote that perception is a complex set of sensations of various modalities. We assume that in the process of ordinary visualization of the most benevolent images, it is very difficult for a person to identify himself with them, but with the addition of a kinesthetic sensation, this task becomes easily solved. The image is the result of an active process, as a result of which some parts of the stimulus are emphasized and even modified, while others, on the contrary, are suppressed. And it is in the manipulation of glossy magazines that we can show the greatest subjectivity in building our own ideas, lingering on the most impressive pictures and rereading the information that interests us the most.

Let's look at the emotional attachment to a magazine. The main function of any glossy magazines is to form and correct people's ideas about the ideal life. The combination of two modalities - kinesthetic and visual - in combination with the manifestation of active cognitive viewing of the magazine (more often in a secluded place where no one distracts us) allows us to focus the most attention on those episodes that are most consistent with ideal ideas. The subject has the right to “stop the moment”, i.e. linger on a page, view it many times, return to it several more times a day/week.

To the greatest extent, we can speak about the importance of the phenomenon of glossy magazines in connection with the actualization of the mechanism of identification with ongoing events, with the transfer of oneself to an ideal future. When reading a magazine, a person seems to “wear” the clothes he likes, “ride” luxury cars, “use” excellent accessories, “communicate” with famous (and beloved) people, “realize” his hidden potential (in the form of visualization of the desired result) . The last point is exploited most prominently by magazines that give "simple but very effective advice" on how to behave in a given situation. For example, “10 ways to say NO”, “8 ways to get a raise”, etc. This mechanism works for magazines of any content, regardless of the readership.

The emotional attachment to the magazine can be the greater, the more impossible it seems to a person that ideal way of life for him, which is promoted by this publication. When reading travel magazines, we seem to travel through the countries represented in them, we are transported into the past (reading about historical chronicles), etc. Looking at a business publication, the subject seems to be immersed in this economic space, where he is free to “touch” (due to the direct connection of kinesthetic sensations) to various phenomena of world business, visit enterprises, communicate with prominent businessmen, learn about the most profitable types of earnings, etc. Moreover, here the subject chooses the most benevolent role for himself. For example, the role of “critic” (if he evaluates the material), “analyst” (collecting materials and facts), “observer” (just flipping through the magazine and enjoying the impressions received), “partner” (when he opens his own business by reading an article about him in a magazine - such examples are repeatedly given by business owners).

Thus, we see that the formation of an effective image of a glossy publication is directly related to understanding the role of magazines in the life of an individual, with the implementation of their main psychological task. At the moment, a hypothesis is being worked out that glossy publications are a kind of guide to the "world of the impossible", being similar to "fairy tales for adults". It is the regular reading of your favorite publication that allows you to objectively feel the possibility of touching the ideal, fabulous life, in which most of our, even the most contradictory, desires are fulfilled. The implementation of these principles can guarantee the successful perception of the published glossy publication, since they contain the metaphor of a "guide" in contrast to the metaphor of an "observer". The subject of reading, by and large, is not interested in the process of viewing colorful pictures, not in the process of obtaining information, but in the possibility of a substantive “touch” on their own ideal picture of the world, the possibility of interacting with it. And the publication that generates these experiences as accurately as possible will have the strongest image, regardless of the density of the competitive environment.

In continuation, I would like to point out another aspect that affects the behavior of a modern person is “advertising is the basis of gloss”, which lies in the specifics of image advertising layouts and which sets a special “tone” and most effectively influences the formation of the image of a glossy publication. We would put it even more affirmatively: placed advertising affects the perception of the magazine and the formation of its image even to a greater extent than the article content. This phenomenon can be easily seen in the fact that the most famous magazines around the world (such as Playboy, Cosmopolitan, Vogue, Esguire, etc.), through filling the publication with various brands, preach a lifestyle to a greater extent than they are a source of information (like newspapers, for example). Advertising, as a phenomenon, largely determines our image and lifestyle. That is why the serious German magazine "Spiegel" defined it a few years ago as the "fifth power" after the power of the media. Lebedev and Bokovikov also point out the same idea in their work: “Advertising in general is not information at all, as it might seem from the very beginning, it is precisely the psychological programming of people, and without any desire for it ... Nobody will throw away huge amounts of money only to let us know that a new product is available without expecting that we will buy it.” Advertising, and this reveals its even broader meaning, is capable of not only awakening or actively influencing the needs of a person, leaving him the right to choose. She, according to Lebedev, “... is capable of not only creating new needs for goods, but can form much more complex psychological formations, such as worldview, aesthetic tastes, social values, lifestyle, moral principles, etc. Moreover, very often this happens completely imperceptibly for the person himself, on the basis of a number of psychological mechanisms.

Thus, advertising can be a generating and reinforcing factor in the “objectification” of our needs, a powerful motivational stimulus, which manifests itself in the presence of a certain image, an idea of ​​what exactly we need to satisfy our needs. The very process of perception is influenced by the deep attitudes of consumer behavior among all consumers who identify themselves with a particular culture traditional for a given territory.

Summing up the above, we can conclude that the sudden appearance of a beautiful bright magazine on the Russian market was an absolute sensation and the prospects for the development of glossy elite magazines as a new type of media were, of course, extremely ambitious. Glossy elite edition - is primarily a reflection of the needs of society. And it is in these publications that the media perform their entertaining function. The minimum scientific and analytical content of the materials, a large number of photographs and pictures that relax the attention and show the relaxation side of life. However, gloss readers should not forget that these magazines are not an unconditional guide to action, but simply one of the sources of information, mainly of an advertising nature. It is important to be able to filter this information, leaving only the most valuable and important for yourself. It is necessary to take care of your appearance, be attractive, but do not forget about spiritual development.

2. Features of the concepts of glossy elite magazines for women

1 Comparison of consumer properties and quality of women's glossy elite magazines "Elle", "Vogue", "Marie Claire"

lle (Rus. She) is an international magazine about fashion, beauty and health, translated from French means "she". The magazine was published by the Don Cossack Elena Lazareva, who immigrated from Rostov-on-Don. The first issue of Elle was published in France in 1945 and in the USA in 1985.

The journal includes 39 national publishers, 60 countries around the world, more than 20 websites.

The average age of an Elle reader is about 35 years old. The Russian version of the women's fashion and style magazine is published by HFS/InterMediaGroup.

Vogue is a fashion magazine. Vogue is an understanding of the Russian market and Russian culture, a complete reflection of Russian reality. This magazine is young and interesting to read, it gives the most complete picture of what is happening in the fashion world, is a conductor of new trends and phenomena in fashion. The image of the magazine is characterized by such features as high status, authority, prestige (it is perceived as the most prestigious in comparison with its competitors).

As an advantage of Vogue, readers note the highest quality of printing (paper, illustrations, photographs). Vogue readers lead an active lifestyle, attend social events: exhibitions, premieres, restaurants, shops; travel a lot, go in for fitness and have various sports hobbies. The audience of one issue in Moscow is 199,000 people.

The audience of one issue in Russia is 709,800 people. Women - 79% of readers.

· 16-24 years old - 35% of readers;

· 25-34 years old - 33% of readers;

· 35-44 years old - 19% of readers;

· 45+ years - 9% of readers.

If abroad the development of fashion magazines during the XX century. associated with the development of certain structures of the "beauty industry", then in Russia the expansion of Western periodicals appeared as a process of artificial dissemination of foreign standards of fashion, style of behavior, and ideals. The psychology, philosophy, and typology of glossy women's periodicals have been subjected to criticism, which determines the shortcomings of this press and reveals the trends in its development. Consider the main postulates that form the basis of the negative perception of women's glossy periodicals:

The women's glossy press presents a range of ideal images, the pursuit of which is associated with approaching social success. The social types dominating in the publications belong to the middle and upper-middle-income segments of the population; the readership of the magazines is women who strive to fall into these social categories. However, the possession of the attributes of "high society" does not guarantee real entry into it, which provokes the myth of possible social identification.

The images in the publications do not represent real people, but unified types with fashionable body proportions, eye color, etc. The "glamorous" type of beauty denies natural beauty, orienting the consumer of fashionable products towards eternal youth.

The glossy press is not journalism; in these publications, illustrative material and information of a commercial nature are predominant.

Marie Claire is a monthly women's magazine first published in France but also published in other countries. While each country tailors itself to the interests of the magazine's audience, the United States edition focuses on women from around the world and several international issues. The magazine also contains topics of health, beauty, fashion.

Gene Prouvost created the first issue of the magazine in 1937, it was supposed to come out every Wednesday. French readers flocked to the newsstands to buy the next fresh issue of this magazine, which was a huge success. However, in 1942, the authorities of the German occupation in France stopped the publication of most magazines, and "Marie Claire" was one of them. The magazine was not published until 1954. Then the magazine began to be published again, but now it was published not weekly, but monthly. In 1976, Prouvost handed over his business to his daughter Evelyn, who began to cooperate with the company L "Orial Group.

Marie Claire was published in the USA by New York-based Hearst in 1994. This company has subsidiaries in France, Italy, and several locations in the United States such as Detroit, the West Coast, New England, the Midwest, the Southwest, and the Southeast.

Out of print from 1942 to 1954, a weekly version of the magazine was published during this period. In 1976 he joined the L "Orial group of companies.

The anniversary of the famous magazine was celebrated in 2004, Vanessa Paradis appeared on the cover of the magazine.

The following criteria were used to evaluate the consumer properties of women's glossy magazines Vogue, Marie Claire and Elle:

illustrations;

Magazine design;

The respondents were university students (30 people). They were asked to evaluate these journals according to the named criteria. The maximum score for each criterion is 5 points.

As a result, the following data was obtained, Appendix 1

Summing up the results for all criteria, it was revealed that Vogue magazine scored 21 points, Elle - 20 points, Marie Claire scored 23 points.

Thus, consumer assessments do not have major differences. The strengths of one magazine are balanced by those of another magazine.

The quality of women's glossy magazines "Vogue", "Marie Claire" and "Elle" was assessed according to the following criteria (presented in Appendix 2):

Semantic and conceptual component of the publication;

Genre and thematic variety. rubrication;

Literacy and literary quality of texts;

Preparation of texts;

Layout;

Prototyping;

Cover and/or 1 page;

Graphic arts.

The maximum score for each criterion is 5 points.

The data also confirms that there are no significant differences in the quality of women's glossy magazines Vogue, Marie Claire and Elle.

The characteristic of the publication is determined based on the data on its perception by the reader. It is necessary to find out (using questionnaires, telephone surveys, etc.) what characteristics of the publication are important for the regular and casual reader, and then compare your publication with the publication of competitors in relation to these characteristics. There may be some needs that are not met by any existing publication - this is a great way to fill an empty "niche". In this case, special attention should be paid to the life cycle of a newspaper or magazine (stage of introduction to the market, stage of development, stage of maturity).

A clear understanding of where a publication is in its lifecycle allows assumptions to be made about the target market, competition, price, distribution, and advertising strategy. For example, at the implementation stage, the main goal of the publication is to get the audience to "try" it. Without a doubt, at this stage it is very difficult to submit a new edition to a new reader, since not everyone knows about its existence. Therefore, persuasive advertising is used, explaining how the new edition will satisfy the needs of the audience, which so far have not been satisfied in the information market.

At the stage of development, the advertising service is engaged in the positioning of a particular publication in relation to competitors. Subscription is carried out "at discount prices" to conquer the market, and distribution is extended to mass distribution networks.

At the stage of maturity, the advertising service works to increase brand awareness in order to develop an image and differentiate the publication from competitors. It is necessary to "place" the name of the publication in the near memory of the reader (for example, with the help of a slogan). Pricing becomes a very important factor. All possible distribution channels are used.

Second stage: marketing goals and marketing strategy. This approach allows you to conduct promotional activities of the publication at a qualitatively higher level. Marketing goals give an idea of ​​what needs to be done to fulfill the promotion plan, marketing strategies give an idea of ​​how these goals can be achieved.

Third stage: positioning. Positioning is understood as the establishment of a certain perception (image) of the publication. All marketing efforts should be subordinated to its strengthening. It is very important to choose and implement the right positioning, not only from the standpoint of the present moment, but also taking into account the future. Misplaced positioning can "kill" a newspaper or magazine.

Fourth stage: development of a creative (creative) concept. Mediaplan. Based on the approved positioning of the publication and in accordance with the identified goals and objectives of promoting the publication to the information market, a creative concept of the promotion campaign is developed. This is a kind of "framework" of creative ideas, on which advertisements of various formats and types are built, a plan for participation in special events is developed, agreements on information sponsorship are concluded, Internet projects are created, etc.

Having collected the necessary information about its readership, prepared a media plan and created promotional materials, the publisher can safely proceed to implement a promotion strategy, which may include the following elements:

* Signature campaign;

Tutoring

Need help learning a topic?

Our experts will advise or provide tutoring services on topics of interest to you.
Submit an application indicating the topic right now to find out about the possibility of obtaining a consultation.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Similar Documents

Glossy elite magazine for women as a phenomenon of modern mass culture. The concept of "glossy elite magazine", the prerequisites for its development in the Russian market. Comparison of consumer properties and quality of magazines "Elle", "Vogue", "Marie Claire".

thesis, added 10/09/2013


The main types of women's press. Methods for classifying women's publications, their main tasks. Genre features of specialized publications for women. Analysis of the magazine "Vogue" as a specialized women's magazine. Women's publications on the territory of Ukraine.

term paper, added 06/01/2014


The emergence of the printing press and printing technology. History of newspapers, characteristics of the media. Print media: newspapers, magazines. The relationship between the press and the audience, the functions of journalism. Printed matter in PR, PR and press relations.

term paper, added 08/27/2011


The influence of glossy magazines on the reader's value orientations. Five features characteristic of glossy magazines, their features as mass media. The role of the "Message" magazine in the culture of youth consumption, the use of propaganda techniques.

term paper, added 12/25/2013


Agrarian press of Russia. Development of the agricultural press system. Formation of the agrarian press and its current state. Periodicals of the agrarian press. The place of the agrarian press in the media system. Analysis of the agricultural press. Magazine layout. The presence of advertising.

term paper, added 09/26/2008


The reasons for the appearance of glossy publications, the first editions of the world. Directions, genres and audience of modern glossy publications, forecast of their position in the modern press market. Typology of women's publications in Russia, changes in their content over time.

thesis, added 07/11/2015


Study of the history of the origin, systematic development and daily work of the journals "Grani", "Sowing", "Continent". The study of the characteristic features of the Russian press in exile, its role in the formation of public consciousness and social preferences.

Send your good work in the knowledge base is simple. Use the form below

Students, graduate students, young scientists who use the knowledge base in their studies and work will be very grateful to you.

Similar Documents

The influence of glossy magazines on the reader's value orientations. Five features characteristic of glossy magazines, their features as mass media. The role of the "Message" magazine in the culture of youth consumption, the use of propaganda techniques.

term paper, added 12/25/2013


The concept of gender in psychology and linguistics. Basic gender requirements for information policy and their implementation in the media. Peculiarities of expressing the gender specificity of information products (on the example of texts of glossy magazines for men and women).

term paper, added 06/22/2010


Process management as a basis for modern media editorial management. Factors of change that affect the work of the editorial office at the macro-, meso- and micro levels. Reflection of the foundations of some theoretical concepts in the processes of its transformation.

thesis, added 07/03/2017


The reasons for the appearance of glossy publications, the first editions of the world. Directions, genres and audience of modern glossy publications, forecast of their position in the modern press market. Typology of women's publications in Russia, changes in their content over time.

thesis, added 07/11/2015


The history of the creation of glossy magazines. Comparative characteristics of magazine layout programs, analysis of existing analogues. Creating a magazine style for parents. The structure of headings, stylistic design, plot plan, design and layout of the magazine.

term paper, added 04/25/2015


Historical and typological analysis of the evolution of the female image in the Russian women's press. Classification of women's magazines. The specificity of the reflection of the relationship between a man and a woman on the pages of modern magazines, their thematic features and gender stereotypes.

thesis, added 04/20/2015


The concept of gloss, the causes of its occurrence. The history of the development of glossy publications in pre-revolutionary Russia and the USSR. Analysis and forecast of their position in the modern press market. Their genre specificity, subject matter, target audience. Competition with Internet resources.

thesis, added 05/25/2015

Cover of a glossy magazine. Evolution and current trends

Introduction .................. ............................. .. ....................................................... ........ 3
Chapter I. The history of gloss in Europe .............................................. ......................6
§1 Evolution of glossy magazines ............................................................... ... ...................6
§2 Cover history ............................................................... . ............................. .............thirteen
Chapter II. VOGUE magazine .......................................................... ....... .......................20
§1 Evolution of the content of the picture ....................................................... ....... ..........20
§2 The history of technical methods of cover design .............................. 31
Conclusion............... .............................. .... ......................... ........................ ...36
Bibliographic list ........................ ........................ ...... .....................39

Introduction

Magazine cover is a separate form of communication art. Making a successful cover is an incredible success for a magazine. To make a good cover, one that is remembered for a long time, is an incredible success. But it’s not enough to take a great photo, you need the cover to contain on one page the whole essence of the issue, the philosophy and position of the magazine at the same time. This course work is devoted to the review and analysis of glossy magazine covers of different eras, from the 1700s to the present day. This period was chosen due to the fact that the evolution of a magazine cover is a long and laborious process, due to many factors, including technical ones. This period most fully reflects how the picture changed.
The history of the emergence and development of the magazine cover is a relevant subject for study, since glossy publications occupy a certain niche in the modern media space and their influence on young people in our time cannot be ignored.A sign of these publications is the highest printing quality. The illustrations in these magazines are the clearest example of the use of all the informative, pictorial and artistically expressive possibilities of modern photography. This is very important, because when purchasing a magazine, readers will first of all pay attention to its colorfulness, paper quality and clarity of printing.This sign follows smoothly from the previous one: glossy magazines are not read, but watched. The environment of a modern person is a special visual space, everything tends to be visual. And in glossy magazines this is a dominant feature, it is obvious that these printed products are intended for recreation. Such magazines are practically not designed for reading, they capture a person not with their informative content, but with a bright image that symbolizes success, happiness, wealth. Glamor is a disguise that is needed in order to increase your social status in the eyes of others. Glamor is needed so that others think that a person has access to an endless source of money. An illustration in a glossy magazine plays a special role; it is a visual code that builds a system of symbolic values: aesthetic, moral, social, gender, and others. A glossy magazine naturally, purely visually, presents the consumer with a generally recognized version of fashion, the social, socio-gender world and relationships in it, i.e. suggests what others expect of you in a more or less typical situation and what your actions should be. However, illustrations, even in glossy magazines, almost always require the support of text: words enhance the narrative power of illustrations.
This work is to highlight the main trends in the evolution of glossy magazine covers on the example of Vogue magazine.
Research objectives:

consider the history of the development of a glossy magazine as a type of publication
follow the changes in the design of the magazine cover
analyze the cover structure of Vogue magazine in different periods of its existence

Exploring the evolution of the glossy cover, we can trace the main trends in the development of the glossy industry as a whole, see how history and the technological revolution have made their own adjustments to the improvement and development of the magazine cover.
Object of study is a glossy magazine as a type of publication.
Subject of research will serve as the covers of Vogue magazine (from 1895 to 2010), as well as the covers of some other publications, which will give us the most complete picture of the changes in cover design.
As a way to summarize the main trend in magazine covers, we will be looking at generic covers. vogue.
Studying the covers of glossy magazines is impossible without considering gloss as a type of publication. In the first chapter of our term paper, we will turn to the history of gloss, consider how the women's magazine has evolved, and how the cover has changed and transformed along with it.
The second chapter is devoted to the most famous magazine in the world of fashion - Vogue, it also presents the main modern design techniques and methods for designing the cover of a glossy magazine and the evolution of magazine covers: from the era of illustrations to photographs

Chapter I. History of gloss in Europe

§1 The evolution of glossy magazines

Glossy magazines are one of the easiest and most common ways to bring fashion trends to the masses. Some of the first glossy magazines still exist today. It is known that “back in the 17th century, fashion in France was set by the aristocracy, whose costumes were diligently copied by the middle class. Fashion trends were distributed directly and did not have a printed intermediary. The advent of fashion magazines was a real revolution.” one
Since 1672, a literary-critical magazine "Mercure galant" began to be published in France, which means "Gallant Mercury" in translation. Jean Donno de Wiese himself at that time was a successful publisher, and he was also distinguished by his ability in literature. In the early years of its existence, the "Gallant Mercury" was published irregularly, but King Louis XIV gave an order to de Vize, in which it was clearly and clearly stated: the magazine should be published monthly in order to enlighten the minds of the entire court population. From 1677, The Gallant Mercury began to appear every month. Interestingly, sections devoted to gossip columns, as well as peculiar fashion reviews, to which pictures were attached with descriptions of models and instructions on when, what and how to wear this season, began to enjoy the greatest popularity in this magazine. It can be argued that the "Gallant Mercury" became the prototype of the modern "gloss".
The first "high society" magazines were devoted mainly to fashion. From the end of the 17th to the beginning of the 18th century, they have already become commonplace in the boudoirs of secular ladies, actresses (the so-called ladies of the “half world”). At that time, many publications about fashion were published in France and Germany, for example, Fashion French Gallery, Fashion Ladies' Magazine. Moreover, all of them were illustrated either with color drawings or highly artistic engravings. Magazinescovered the literary novelties of books on philosophy, as well as cultural life and the achievements of the natural sciences. In 1665, the Journal des savants was published in France, and at the beginning of the 18th century, the magazines Tatler and Spectator were published in England.
In the 19th century, magazines began to target specific groups of readers. The purposefulness of magazines began to depend on the signs of potential readers. Depending on gender, glossy magazines were divided into men's and women's, children's magazines appeared a little later. By professional affiliation depending on the professions of readers: a magazine for accountants, teachers, doctors, etc. The magazines were also subdivided according to the place of residence of potential readers into urban and for people from the countryside. Various dresses, jackets, frock coats and top hats were depicted on their pages. Not without various knick-knacks, the so-called now accessories. Later, sketches of various furniture and interiors began to appear. From them, people began to learn what is now in fashion and what color and style to prefer now, having come to the store for a new thing. It can be argued that this is how the first advertising of goods appeared. Men read intellectual magazines, and ladies who care about their appearance fashion magazines. Among the magazines addressed mainly to the fashionable public, there were also simpler publications dedicated to the practical bourgeoisie - simple housewives and needlewomen. Among them, Le Petit Echo de la mode, published since 1880. These magazines presented fashion trends in sewing, embroidery and knitting and invited readers to realize the most relevant models themselves.
One of the most successful magazines of the time was Godey's Lady's Book, founded in 1830. The most popular glossy magazines were in the 1920s and 1950s, when several super giants were founded, such as Time d in 1923 and the New Yorker in 1925. There was also the first magazine for men - Esquire.
Some of the oldest and most respected in the world are women's fashion magazines Cosmopolitan, Vogue, Elle and Harper's Bazaar. True, they became glossy a little later. At first they were yellow and rough, and the pictures in them were simply decorated. Later, when the paper industry and The development of printing technology allowed the paper to become shiny, they appeared not pictures, but photographs.These publications boasted magnificent photographs, because they worked closely with fashion photographers such as Edward Steichen, Horst, Cecile Beaton, André Durot and Baron Adolphe de Meyer (a virtuoso of blurry romantic photographs).

“The beginning of the 20th century is rich in names and events. Exhibitions of decorative arts multiplied, artists and artists from other countries came to France. The Russian ballets by Diaghilev and the costumes for them by Leo Bakst inspired the work of many couturiers. Sonia Delaunay, a French artist of Russian origin, designed fabrics with avant-garde designs. Each creative personality of that time tried to take an active part in the creation of costumes. Since 1904, the revue Les modes began to appear with photographs of real stars. It was then that magazines also began to indicate the name of the couturier next to the legend that showed the outfit. Industry developed rapidly. Artificial silk - viscose - appeared on the market. Chanel creates comfortable suits and dresses, freeing women from tight corsets. Sport becomes part of the culture, and fashion immediately responds - swimsuits, cycling suits, tennis suits and skiing suits appear. At the same time, Paul Poiret, having opened his fashion house, ventured to attract artists of different styles to work. 2
Paul Irib was first invited, then Georges Lepap to publish two albums of the couturier in 1907 and 1908. A whole galaxy of remarkable artists worked for fashion: Georges Barbier, Pierre de Beley, Benito, Boutet de Monvel, Pierre Brissot, Drian, Erte, Charles Martin, André Marty. Artists sometimes set the style and direction themselves. Erte, a well-known French fashion illustrator of Russian origin, later described the eccentricity of that time in his memoirs:
"At one time, I advised partially epilating the eyebrows to give harmony to facial features. In some places this fashion has remained to this day, coupled with multi-colored nail polish, which I introduced into fashion ... I remember a young beautiful American woman, I forgot her name, who completely shaved her head and covered her skull in gold paint. Another woman dyed the fur of her little white dog to match her dress."
"I saw a lady who pulled out some teeth and replaced them with precious stones..."
“Journals with a small circulation and a short fate appeared, for example, the Journal des Dames et des Modes, which did not even live to see the First World War. The same happened with the Gazette du Bon Ton, which was supported by a small group of fashion designers, edited by Lucien Vogel and addressed only to a small group of initiates. The magazine closed for the duration of the war, reappeared in 1920, and ended its career in 1925 with a special issue dedicated to the exhibition of decorative arts. The magazine Le Trait parisien (1920-1936) was entirely devoted to the creators of fashion. The fourth magazine worth mentioning was Art Gout Beaute, published from 1920 to 1935, with wonderful color illustrations. 3
Marie-Claire magazine, founded by Marcel Auclair in 1937, brought many innovations to the culture of fashion publications. It was devoted not only to one topic - fashion, there were many different headings: beauty recipes, news in the world of books, readers' mail, movie and theater stars. The success of the publication was resounding. The magazine continued to appear during the Second World War in Lyon, for which he was immediately reproached after the liberation of France. Since 1952, the magazine has been published again, completely updated. And since November 1945, a new magazine has been published that fully meets the new demands of the public - Elle, under the leadership of Helen Lazareff, inspired by American publications after her trip to the United States. 700 thousand copies of the first issue diverge instantly. The magazine employs such well-known photographers as Francoise Giraud (who became the editor-in-chief of the publication) and Guy Bourdan. The attention of the public is attracted by all possible means. The publication could be found in any public place - both in hairdressing salons and in medical institutions. Helen Lazareff, a bright personality, was familiar and friendly with most couturiers and often helped them. Elle magazine is still the best-selling glossy magazine in France” 4 .

“With its great photography and great styling, the magazine makes readers identify with the images they see on the pages. However, remember that this is not the Bible. Readers often think that what they see on the catwalk is a recipe for action. Many people ask me what is fashionable now. Buy a magazine! Open it. There are very well explained trends, directions, colors. You have to read magazines, I leaf through them with pleasure - sometimes amazing styling, sometimes very unusual photos and very beautiful models. There are pages - just a work of art: the skill of a photographer, stylist, designer, make-up artist, hairdresser and the model herself.
With all this, what they are talking about, divide by 8, because after all, the main goal of gloss is to make you run to the store. And magazines are doing a great job of it. After all, this is an advertisement that helps to make life more fun and brighter, but the same can be done by nature, an exhibition, a museum, a music concert, children, pets. There are plenty of opportunities to get in a good mood and joy, so do not surround yourself with a stack of wonderful but heavy magazines. Now you can choose a women's magazine, as they say, for every “taste and color”, and popularity speaks of the “necessity” of publications for women. And not only for women. Men also read women's magazines, but are embarrassed to admit it. The beginning of this century in the magazine world can rightly be called a "glossy revolution". And the tone for her, as often happened in history, was naturally set by women - more precisely, women's magazines - the most scrupulous about their appearance. 5
“Since their inception, magazines have been designed to fill the gap between newspapers and “serious”, “intellectual” books. On the pages of magazines, information of an entertaining nature (fashion novelties, advertising of goods and services) alternates with materials on history, art, cultural heritage, which are accessible to the general reader in form and content. The second feature of the magazine as a media product is its “targeting”, orientation to a certain group of readers. The target audience of journals is identified according to a certain sign of a potential reader: gender (male/female), professional affiliation (magazine for accountants, teachers of physics and mathematics, etc.), place of residence (urban/rural), etc. As the third specific characteristic of the journal the design of the publication can be distinguished. Unlike newspapers and books, in which text predominates, and pictures, photographs, cartoons, etc. are only an illustration to the text, in the magazine the visual and verbal components coexist as equal parts of the whole. 6 It should also be said that the history of fashion magazines is closely connected with fashion photography, over time, magazines learned to replicate images and this contributed to the fact that fashion publications experienced a real boom through the use of new technologies, thus reducing the cost of their production and, accordingly, lower prices. As a result, magazines have become available to a much larger number of people. A cult role in this was played by the French magazine Vogue, which has existed since 1892. Today it is one of the authoritative magazines in the fashion world, and its covers are rightfully called works of art.

§2 Cover history

In the mid 1700s, the cover of a magazine was something different than what we see now. The opening pages were title and content, such as the Town and Country Magazine, or Universal Repository, from Knowledge, Learning, and Entertainment, April, 1788. (See Appendix, Figure 23)
The first page of the magazine usually looked like a model book cover, which provided only the title and imprint. The cover of an American Journal of Useful and Entertaining Knowledge from 1835 is presented as a layout, with a small illustration, for decorative purposes only and not for illustrating the content.
The Mother's magazine (Mother's Journal) from 1844 (see Appendix, Fig. 24) is an example of a cover that was common in the first two centuries of the existence of magazines - a symbolic cover. A typical illustration in symbolic form was used here to evoke the spirit of the publication, without talking about the specific content of this issue.The magazine illustration was seen by the readers themselves as being the foundation of the unifying arch column, the source and fountain of life, and the instructor of their families.
At the initial stage of the emergence of magazines, their covers looked more like newspapers than magazines, since articles were published on the first page. Like in this Penny Magazine from 1838. (see Appendix, fig. 25)
“Real magazine covers began to appear in the late 1800s. The popular women's magazine Petersons in 1872 (see Appendix, fig. 26) uses a cover richly embellished with foliar symmetry of Victorian ornaments, with a fine combination of designs on the bottom, symbolizing the various roles of a woman in the family. At the top of the magazine, we can observe a message that serves as one of the themes found inside the magazine: "Now is the time to catch up with the clubs" 7 .
The Cosmopolitan of 1893 (see Appendix, fig. 27) testifies to the common way of designing the cover of a magazine of that time. The cover printed directly with the content, as well as magazine identification - characteristic large "C" and red stripes).
The Chaperone magazine of 1896 (see Appendix, fig. 28) illustrates an experiment that took place in cover design in the second half of the 1800s. This edition uses a small general drawing on the cover, surrounded by coins, inside which sections of the magazine are marked - art, music, literature, science, excursions, dress, humor, etc. - not the content of the actual articles.
Thus, a wide range of magazine covers already existed at the end of the 19th century. By this time, the legendary Vogue also appears.
“It can be said that since the 1890s-1960s, one of the types of magazine cover design has clearly dominated - this is a poster (poster). The poster was not the only way to design covers at the time, but it attracted more attention from readers and eventually began to act as a kind of standard for how the cover should look.
Prominent professional illustrators emerged in the late 1800s. Many learned their craft from the artistic posters of the Art Norveau movement (some of which, like Mucha's, remain standard items in the decorator's catalogue). Graphic design dominates, although at that time there were excellent photographs.
In the early 1900s, several artists, including Charles Dana Gibson and Maxfield Parrish, became known throughout the country, their work not only appeared on many magazine covers, they were able to cover their numerous accounts through this work. eight
"Looking through many of these oversized magazines, I noticed that they were printed so that they could be framed and hung on the wall."
A variety of illustrated covers were used during this period, including poster art and photo prints. Leslie's Weekly, The Munsey, and Harper's Weekly and Vogue magazines were oversized by today's standards, they regularly featured huge illustrations on the covers. (See Appendix fig. 2, 3, 4) The dashing August 1898 cover of The Munsey magazine appears to be typical: it depicts troops on horseback in battle in Cuba, in beautiful romantic realism.
Between the 1920s and 1960s, the poster featured prominently in many famous magazines, at first without cover lines, gradually with a few, and then the cover line became an integral part of the cover design.
Vogue 1917 (see Appendix, fig. 29) shows the poster's characteristic covers. In the upper left corner, in small print, it says: "Spring. Ladies' hats." The dazzling illustration speaks for itself. (Illustration by the famous artist Dryden).
At Vanity Fair (see Appendix, fig. 30), under the artistic direction of M. F. Agha, the magazine used posters throughout the 30s. For example, this cover has served as a political cover since November 1933.
When Henry Luz launched Fortune (see appendix, fig. 31) in the depths of the Great Depression in 1930, its sheer size and dynamic optimism were conveyed through the beauty of the covers—a succession of confidently modernist paintings celebrating industry and progress. The perforated cover makes it feel like we're looking out of a window - part of a design concept created for Fortune by T. M. Clandand.
Poster design began to cover different types of magazines.
Outdoor Life (see Appendix, fig. 32) from January 1929 is equipped with a bright, detailed drawing of a lynx in the forest. It took a decade before high-quality color photographs of similar subjects were widely distributed in magazines. Notice how the photo carries the framing common to many poster covers, as well as how the space at the very bottom of the page is used.
Asia (see appendix, fig. 33), a travel magazine with a stunning poster cover and beautiful illustrations in the 20s and 30s. This April 1933 cover does not contain line coverage and gives no hint of its content except through the African themes of the drawing.
“The cover design of Life magazine (see Appendix, fig. 34) when that magazine was launched in 1936 used the concept of Fortune posters. From the beginning, Life has been a huge, thick magazine with a large black and white image framed by the magazine's logo and published data. Lines appear on rare occasions, they were minor, as was the caption on this 1939 issue featuring the conductor Arturo Toscanini. At Life, the photographs were the main attraction." nine
The history of the poster from this point on is mixed with the history of the emergence of magazine lines.
Although not all magazines went through the visual arts of the poster, many adopted this design in the early 20th century. Posters are still in use today. But the poster today is only one of the design options, and far from being the dominant one.
Carmel (2000) (see Appendix, fig. 35) is an example of a kind of modern cover poster. Found among magazines aimed at upscale readers (in this case, golf resort patrons).
Rolling Stone (January 2001) (see Appendix, fig. 36), with ex-Beatle George Harrison on the cover. An example of a blank cover poster with no line coverage.
We've traced the history of the poster all the way back to the early 21st century, looking at magazines whose stunning covers carry the aesthetic sensibility of the times.
McClure's 1916 (see Appendix, fig. 37) is an example of a "complex" cover in which art and type achieved symbiosis, mutual support. By 1916, designers used many methods that would be relevant throughout the 20th century to integrate line coverage from the cover:
* Large title with model's face overlapping it
* Model of (almost) whole body represent
* Models in an unusual and expressive pose (rotated somewhat, in a downward spiral, on the bottom line of the cover)
* Outer lines on all sides of her, carefully positioned in relation to the model and background ("The Amazing Fraud" is written through the sailboat beam, other lines appear with the sail)
“There is a primary and secondary set of line coverage. The main kit consists of a list starting with Robert Hichens (and including, by the way, famous magazine illustrator James Montgomery Flagg, who created Uncle Sam - shown the way Richard Avedon might have been featured on the cover in the 1990s), and a large, efficient the middle line of the coating appears at the bottom of the painting, of contrasting type and color." ten

Note that most of the line coverage specifies the names of the contributors, not the topics of their articles. The illustrator places even the name of the cover in a prominent place.
Cosmopolitan 1932 (see Appendix, fig. 38) testifies to the high degree of skill of the complex cover illustrator.
The "C" logo is echoed by a circle around the price, a circle around the beach scene, a hat, an umbrella, a woman's arm and curved legs, and even a crooked big "G" at the bottom of the cover line. A model of a spiral from a distant beach in the foreground at the front of the cover, creating a dance of depth and movement, as if she had just thrown herself down.
“In the late 1960s, however, the magazine cover began to break out of its quiet, understated style. As this May 1968 oversized Vogue showed (see Appendix, fig. 39), line covers began to appear regularly in large types, font colors caught the eye, and various cover sizes were striking. Cover lines invaded the painting with new independence - in this case moving the painting to one side to make room for itself. Thanks in part to the innovations of designers like Erb Labalin, typography in bold typography became an artistic element in its own right, and they quickly became centerpieces in cover design.
Ending a trend that Aga had noted in the 1930s (Remington and Hodik, 18), the layout of many magazine covers was now not significantly different from that of advertising. Consider in this magazine-sized 1979 promotional supplement, Beauty Guide, from Eckerd Drugs: The logo, picture, cover lines, and color scheme all "sell" the promotional supplement and its content.
Starting around this time, advertising logos began to be placed on the covers of many magazines. On magazine covers, poster art gave way - first to journalism, then to persuasion, and then to advertisements. A typical April 1976 Vogue contains similar ads in cover lines that sell articles on "beauty-work" and "instant allure". eleven
Cover lines have become bolder with every innovation in technology - press-on type, phototypesetting, desktop publishing, type creation software, new software for manipulating text and for combining text with type, and the complete digital revolution. type that matured in the 90s.
etc.................