MAGAZINES: MAINSTREAM AND ALTERNATIVE MEDIA

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Section B: Magazines — Vogue and The Big Issue (30 Marks)

‘Magazine representations are more influenced by economic contexts than social and cultural contexts.’ To what extent do you agree with this statement? Refer to the set editions of Vogue and The Big Issue in your response. [30]

Paragraph 1: Vogue and Economic Context (Advertising)

Point: In mainstream magazines like Vogue, representations are fundamentally driven by the economic need to satisfy luxury advertisers.

Evidence: The July 1965 edition features fashion spreads and adverts for brands like Cutex and Revlon, presenting an idealized, affluent version of femininity.

Theory: This supports Hall’s theory of representation, suggesting that stereotypes of the "glamorous woman" occur because of the economic power advertisers hold over editorial content.

Analysis: Vogue functions as a "shop window"; therefore, the female representation is constructed specifically to create a consumerist desire that benefits its high-end sponsors.

Cultural Context: This reflects the mid-1960s consumer boom, where magazines were primary tools for social aspiration and the promotion of a luxury lifestyle.

Paragraph 2: Vogue and Social/Cultural Context (Changing Status)

·Point: However, Vogue also reflects the shifting social and cultural status of women during the 1960s, which influences its representations.

·Evidence: Articles like "Money: Questions and Answers" suggest a growing female interest in financial independence and professional life.

·Theory: This can be analyzed via Van Zoonen’s feminist theory, which argues that gender is a discourse that changes according to historical and cultural context.

· Analysis: While still consumerist, the magazine began to reflect a more "liberated" woman, showing that social shifts can occasionally override purely economic advertising goals.

·Cultural Context: This is rooted in the emergence of "Second Wave Feminism" and the gradual legislative shifts toward gender equality in the 1960s.

Paragraph 3: Vogue Synthesis/Conclusion

Point: Ultimately, in Vogue, the economic context remains the dominant influence on representation.

·Evidence: Despite the "liberated" articles, the visual representation remains strictly focused on youth, beauty, and affluence.

·Theory: This follows Curran and Seaton’s logic that the primary goal of conglomerate-owned media is profit, which leads to narrow, repetitive representations.

·Analysis: Social change is only embraced by Vogue when it can be commodified and turned into a new market for advertisers.

·Cultural Context: The magazine remains a product of corporate capitalism, where "empowerment" is redefined as the power to purchase luxury goods.

Paragraph 4: The Big Issue and Economic Context (Not-for-Profit)

Point: Conversely, The Big Issue uses its unique economic status as a not-for-profit organization to create alternative, non-stereotypical representations.

Evidence: The "My Pitch" feature gives a voice to homeless vendors, representing them as active entrepreneurs rather than passive victims.

Theory: This aligns with Curran and Seaton’s idea that socially diverse patterns of ownership (like an independent, social enterprise) create more varied and adventurous media.

Analysis: Because the magazine does not answer to luxury advertisers, it is economically free to represent marginalized groups in a more humanized, authentic way.

Cultural Context: This reflects a post-Thatcherite social awareness, where the magazine was created specifically to address the systemic issue of homelessness in the UK.

Paragraph 5: The Big Issue and Social/Cultural Context (Advocacy)

Point: Social and cultural contexts of advocacy and activism are central to how The Big Issue constructs its representations.

Evidence: The inclusion of high-profile celebrities like Grayson Perry or Daniel Radcliffe is used to draw attention to serious social issues.

Theory: This exemplifies Hall’s idea that representation is a "site of struggle," where the magazine fights to replace dominant myths about homelessness with alternative truths.

Analysis: The celebrity presence acts as a "Trojan Horse," using mainstream appeal to force audiences to engage with difficult cultural discourses.

Cultural Context: This taps into the cultural shift toward "conscious consumerism," where audiences want their purchases to reflect their personal and social values.

Paragraph 6: The Big Issue Synthesis/Conclusion

Point: For The Big Issue, the social and cultural mission often takes precedence over traditional economic profit-seeking.

Evidence: The magazine intentionally features "uncomfortable" or niche stories that mainstream commercial magazines would avoid for fear of alienating advertisers.

Theory: This supports the idea that independent ownership is a prerequisite for truly diverse social representation.

·Analysis: While it still needs to "sell" to support vendors, its primary driver is social impact rather than shareholder profit.

Cultural Context: It represents a "counter-cultural" ethos, proving that media can function as a tool for social change rather than just a vehicle for advertising.