The effects of modeling-both interpersonal and mediated-have for years been a focus of attention for exponents of social learning theory(Bandura,1986).And in the magazine world,the presentation of prototypes of behavior and style is not without controversy.For example,objections from an advertiser cast a spotlight on the use of“skeletal”fashion models in British Vogue-with the objection that the“emphasis on ultra-thin models...could encourage young women to develop eating disorders”(Darnton,1996,p.D2).However,magazines also provide a forum for discussing issues of mediated representation and reader imitation.Consider the People cover story(Schneider,1996,p.65)with this subhead:“Deluged by images from TV,movies and magazines,teenage girls do battle with an increasingly unrealistic standard of beauty-and pay a price.”
Connecting through Change and Adaptation
Certainly,change is a characteristic of magazines.A publication's ability to adapt to altered conditions is always paramount in long-term survival.Like dinosaurs,the huge,mass-market magazines of a previous era were weighed down less by their enormous circulations than by their ability to adapt to changing circumstances.More fleet-footed special interest publications have had better luck in today's environment(Abrahamson,1996;Maisel,1973;Toffler,1980).
Yet,many of the fleet-footed also perish,as can be readily seen in an updated listing of“Defunct or Suspended Magazines”on the web site of the Magazine Publishers of America(magazine org.).As with humans,a magazine's personality can be an encumbrance if it imposes borders that limit the ability to change-to present in a new way.In commercial publishing,personalities must be malleable-and at least as important,adaptable-to new needs.
Even venerable,highly specialized publications find that they must retool from time to time.A case in point is the Numismatist,the chief publication of the American Numismatic Association,an 113-year-old organization devoted to coin collecting.The changes include a larger size(from 7.625 by 9.1875 inches to 8.375 by 10.875 inches);full color usage throughout the publication;more photo features;and shorter,easier to read features(Von klinger,2003,p.3).‘Changes were,in the words of editor Barbara J.Gregory(2003,p.6),spurred by the organization's interest in“improved communication with all collectors-members and non-members,newcomers and seasoned collectors,teens and retirees.”As Gregory sees it,her publication,although highly specialized,still has to make a distinctive impression to make a connection(Von klinger,2003,p.3):“‘We compete with everything.People are so saturated with news,the computer,TV,everything.'Part of the redesign mission was to make it easier for people to choose what to read,she said.”
Connecting through Consistency
Although common wisdom suggests the need to cater to certain conventions to interact with readers,one segment of magazines also has the ability to buck convention-providing the opportunity for influence though a highly personalized and idiosyncratic vision.While magazines are frequently conceptualized as commercial vehicles that are reliant on advertising,some are avowedly non-commercial,quirky and even quixotic.The universe of“little”and literary magazines-often allied with colleges and universities-typically buck convention.Generally not advertising driven,these publications live on the support of subions or the subsidies of patrons.Such a formula can create a precarious existence,but it also allows for ******* of expression that may connect with a highly specific and idiosyncratic audience.For example,the“little”and literary magazines have special latitude,say Anderson and Kinzie,in that they:
generally put experiment before ease,and art before comment.They can afford to do so because they can barely“afford”to do anything;in other words,as a rule they do not,and cannot,expect to make money.Consequently,the ways in which they appeal to their readers need not be coercive,stylistically uniform,or categorically topical,as the ways of commercial presses must be.(pp.4-5)
Connecting through the Senses
In speaking of the“romance of the literary magazine,”Laurence Goldstein(2003,p.B15)observes,“Like books,we cherish them for their appeals to our sensorium:their unique appearance,their heft,their residual scent of wood and glue.”In fact,all magazines connect with people through the senses-often building bridges by appealing to direct,visceral,tangible first-hand experience.One of the most apparent connections is with the sense of sight.The magazine is essentially a visual medium,whether through print or visual imagery.
Magazines also relate to the sense of smell.Perfumed fragrance strips appear in fashion magazines,although their use is controversial,especially among those with allergies or other sensitivities(Baird,1997).In addition,magazines have tactile qualities-and are appreciated for their texture and heft.Several variables come into play,including different weights of paper stock,different qualities of paper,different production techniques(matte or glossy covers).
Some other appeals to senses are more figurative-but still potentially powerful.For example,many publications such as women's fashion magazines or stylish publications like the New Yorker or Vanity Fair,have long been viewed as taste makers.In a similar vein,with the competition on crowded newsstands,many publications with striking imagery and provocative cover lines exude a decidedly auditory sensation:they seem to be shouting for attention.