A study of the more than fifty US and International glossy publications for women. This analysis focuses on the strategies by which the commercial structure shapes the cultural content, the magazines' repetitive attempts to secure a consensus about the feminine that is grounded in consumerism, and the contradictory semiotic structures at work within and between purchased ads, covert ads, and editorial features.
Comprising the largest of magazine categories in the United States, nearly fifty glossy publications addressed to women appear monthly on news-stands. They are a multi-million-dollar business and essential to the marketing of commodities in the consumer society. At the same time, they present to readers a master narrative about the world, an ostensibly women-centred account of reality that links the utopian to the everyday. The multiple mini-narratives that begin on the front covers and extend to the ads and features inside combine to offer a highly pleasurable, appealing consensus about the feminine. Decoding Women's Magazines studies the contradictory semiotic structures at work within and between purchased ads, covert ads, and editorial features in such genres as the beauty and fashion magazines, the service and home titles, those aimed at minority audiences, new female workers, and women with special interests and spending power. Whether addressing readers as Mademoiselle or Ms., contemporary women's magazines employ similar textual strategies to conflate commodities and desire, and thereby attain immense circulations and profits.
"Comprising the largest of magazine categories in the United States, nearly fifty glossy publications addressed to women appear monthly on news-stands. They are a multi-million-dollar business and essential to the marketing of commodities in the consumer society. At the same time, they present to readers a master narrative about the world, an ostensibly women-centred account of reality that links the utopian to the everyday. The multiple mini-narratives that begin on the front covers and extend to the ads and features inside combine to offer a highly pleasurable, appealing consensus about the feminine. Decoding Women's Magazines studies the contradictory semiotic structures at work within and between purchased ads, covert ads, and editorial features in such genres as the beauty and fashion magazines, the service and home titles, those aimed at minority audiences, new female workers, and women with special interests and spending power."--Publisher's description.
Challenging assumptions about women's magazines, Currie looks at young readers and how they interpret the message of magazines in their everyday lives. A fascinating, sometimes surprising study of young women and their relationship with print media.
Women have been important contributors to and readers of magazines since the development of the periodical press in the nineteenth century. By the mid-twentieth century, millions of women read the weeklies and monthlies that focused on supposedly "feminine concerns" of the home, family and appearance. In the decades that followed, feminist scholars criticized such publications as at best conservative and at worst regressive in their treatment of gender norms and ideals. However, this perspective obscures the heterogeneity of the magazine industry itself and women’s experiences of it, both as readers and as journalists. This collection explores such diversity, highlighting the differing and at times contradictory images and understandings of women in a range of magazines and women’s contributions to magazines in a number of contexts from late nineteenth century publications to twenty-first century titles in Britain, North America, continental Europe and Australia.
Understanding Women's Magazines investigates the changing landscape of women's magazines. Anna Gough-Yates focuses on the successes, failures and shifting fortunes of a number of magazines including Elle, Marie Claire, Cosmopolitan, Frank, New Woman and Red and considers the dramatic developments that have taken place in women's magazine publishing in the last two decades. Understanding Women's Magazines examines the transformation in the production, advertising and marketing practices of women's magazines. Arguing that these changes were driven by political and economic shifts, commercial cultures and the need to get closer to the reader, the book shows how this has led to an increased focus on consumer lifestyles and attempts by publishers to identify and target a 'new woman'.
This book contributes to our collective understanding of the significance of representations of women and gender in magazines in both their print and online forms. The essays are authored by scholars, writers and cultural producers in fields such as art, film and visual studies, literature, critical race studies, communications, broadcast and print journalism, history, and women and gender studies. Taken as a whole, the volume offers historical breadth and perspectives that are transnational and cross-racial on women in magazines and digital media in a variety of ways. It examines how women are represented, how women have created and produced magazines and how women make meaning of themselves and their world using magazines as key sources of information.
Focusing on the historical development of the British women's magazine, this book begins with descriptions of different kinds of magazines. This is followed by an exploration of elements that made up the mix of ingredients and a comprehensive listing.
This book explores responses to the strangeness and pleasures of modernism and modernity in four commercial British women’s magazines of the interwar period. Through extensive study of interwar Vogue (UK), Eve, Good Housekeeping (UK), and Harper’s Bazaar (UK), Wood uncovers how modernism was received and disseminated by these fashion and domestic periodicals and recovers experimental journalism and fiction within them by an array of canonical and marginalized writers, including Storm Jameson, Rose Macaulay, Gertrude Stein, and Virginia Woolf. The book’s analysis is attentive to text and image and to interactions between editorial, feature, and advertising material. Its detailed survey of these largely neglected magazines reveals how they situated radical aesthetics in relation to modernity’s broader new challenges, diversions, and opportunities for women, and how they approached high modernist art and literature through discourses of fashion and celebrity. Modernism and Modernity in British Women’s Magazines extends recent research into modernism’s circulation through diverse markets and publication outlets and adds to the substantial body of scholarship concerned with the relationship between modernism and popular culture. It demonstrates that commercial women’s magazines subversively disrupted and sustained contemporary hierarchies of high and low culture as well as actively participating in the construction of modernism’s public profile.
