Vogue/ The Big Issue Flashcards
(92 cards)
1
Q
When was the first issues of Vogue released
A
1892
2
Q
Who features on the front of the Vogue set text?
A
Sofia Loren
3
Q
Name some of the other Conde Nast brands.
A
AD, allure, arstechica, Bon appétit, Johansens, vanity fair, Conde Nast Traveler, Epicurious, glamour, GQ and House & Garden.
4
Q
What age range does Vogue target?
A
18-35
5
Q
Where does Vogue’s main revenue source come from?
A
Print ads
6
Q
Who produces Vogue?
A
Condé Nast
7
Q
How is the double page adverts in Vogue an example of aspirational advertising?
A
It shows an ideal aspirational life for a working class audience to work towards
8
Q
what is condé nasts net worth?
A
$743 million
9
Q
How much does a single A4 ad cost to feature in Vogue?
A
£36,000
10
Q
When was the first edition of British Vogue introduced
A
1916
11
Q
How has Condé Nast diversified?
A
Fashion College, Vogue Cafe, Fashion Shows
12
Q
What social grade is Vogue’s target audience?
A
ABC1
13
Q
What is the estimated value of Vogue?
A
$124 million
14
Q
How does Vogue stand out from other brands? What is an example of this?
A
Take more risks like being the first to feature a black woman in the cover
15
Q
how can Curran and Seaton be applied to Vogue?
A
Vogues advertisement pages cost £36,000, and vogue are selling their audience to those advertisers.
16
Q
What is the biggest revenue stream for magazines?
A
Print Adverts
17
Q
What was significant about the first release of British Vogue?
A
It was released in 1916 during World War 1 and provided escapism for British citizens
18
Q
How does the Imperial Leather advert oppose second-wave feminism?
A
It shows women as mothers and as nurturing
19
Q
How is Vogue as a brand like a religion?
A
People follow exactly what it says and treat it like a Bible
20
Q
How is vogue an example of media being used as a distraction?
A
It represents a aspirational lifestyle that is unrealistic to obtain, so the consumer is left to work towards this
21
Q
Why has Sophia Lauren been represented as exotic?
A
This may reflect stuart halls ideas of middle eastern stereotypes, selling this preconceived idea of italian women
22
Q
When was the Big Issue first established?
A
1991
23
Q
How does The Big Issue create a positive representation of itself?
A
Mentioning their ‘milestone’, expressing their belief system and mentioning “we’re on the up”
24
Q
What is a key discourse present all across The Big Issue?
A
Liberal Discourse
25
What is a key discourse for The Big Issue
Self empowerment
26
What is Vogue mainly focused on in their magazines?
Fashion and style, beauty and design too
27
How does Gerbners theory apply to the magazine?
Repeated exposure to female beauty may make women believe that they should always look glamorous etc
28
How is Hesmondhalghs Cultural Industries disproved in The Big Issue?
The primary aim is not maximising profit and minimising risk but ensuring the homeless and those in poverty can make a legal income.
29
How is The Big Issue funded?
It is directly funded by the sales from the vendors who sell it on for personal income.
30
What type of discourse is evident in both set texts?
Discourses of self improvement
31
How is the discourse of “self improvement” different in vogue and the big issue?
In the big issue the goals to improve the lives of the vendors are realistic and attainable whereas in vogue the goals of improvement in beauty standards are very unrealistic
32
What does the term Halo effect mean?
A consumers bias towards a certain product because of a favourable experience with that companies products overall eg. Buying the product because you know it makes a difference to other people
33
What do we learn based on the big issue manifesto?
They are dedicated to long term change and the dignity of their vendors. It is less about the money and more about the opportunity to take part in a business and build opportunities for the future
34
How does The Big Issue challenge Van Zoonens feminist theory 1st idea?
Gender discourses are removed to focus on other discourses and the agenda of the magazine itself
35
What key movement happening In London in the latter half of the 1900’s were British vogue central too?
Swinging sixties
36
How does the Grayson Perry article contribute to David Gauntlett's identity theory?
Grayson Perry discusses their personal identity, which will allow audiences with same experiences to form their identity
37
how does the big issue self represent them as positive
constantly reinforcing their ethos
38
What happened with British Vogue during the second world war as a result governmental input?
Production was ramped up to provide cultural capital & escapism for the British public
39
how can belle hooks feminist theory apply to the “moving on” article
there is only one representation of black women compared to representations of white men - lack of diversity
40
What Alternate readings does the editor article in the big issue have?
Self-righteous
Self-aggrandising
41
what is the purpose of the big issue?
to bring attention to social issues especially homelessness levels, they also hire homeless people as vendors for the magazine
42
What view does the makeup adverts reflect?
That a woman's role is to attract
43
What representation is the Cutex advert (Bare Essentials) conveying?
That Sexualised = Feminine
"Are you woman enough?" implies that ideal feminity is portrayed in the ad
44
Why is the representation of women in Vogue outdated for the 60s?
Second-Wave Feminism was begging to take off yet Vogue still reflected mainstream ideologies
45
What is the representation of Ethnicity in Vogue?
That whiter skin was more "normalised" and those with darker skin tones were seen as less important (Picnic scenes where marginalised groups are in the background). The products themselves were made for white women (seen by the colours they come in)
46
How many copies on average do Vogue sell weekly? What does this challenge?
200,000
The decline in print sales of magazines as Vogue appears to be unaffected
47
Why do readers of Vogue engage with the adverts as opposed to the current wave of readers not liking ads?
They are aspirers so embrace being sold something as they constantly want to know how they can improve their lives. They also trust Vogue as they are an opinion leader so will buy what they sell
48
When was the UK version of Vogue launched?
1916
49
What kind of lifestyle does Vogue typically promote?
An aspirational, luxurious lifestyle.
50
How did Vogue manage to thrive during wartime eras?
Partly due to its aspirational, dream-like brand offering escapism.
51
Name one key way Vogue (Condé Nast) took risks that made it stand out in the 1930s.
They were one of the first magazines to start using colour photography, which was very expensive.
52
In the 1960s, Vogue was one of the first fashion magazines to feature what on its cover?
A black woman (Donyale Luna in March 1966)
53
How does Vogue use celebrities to boost sales and exclusivity?
By featuring them on covers, having famous artists guest edit or create covers (e.g., Andy Warhol, Salvador Dalí), and featuring exclusive content about figures like the Royal Family.
54
What is the primary source of revenue for magazines like Vogue?
Advertising. A single full-page advert in Vogue can cost £36,000.
55
How have Vogue and Condé Nast adapted to the digital age?
By creating digital versions of the magazine, having a strong social media presence, and diversifying into online video content (e.g., "73 Questions" on YouTube), and Condé Nast Entertainment produces film and TV.
56
Who has been the influential editor-in-chief of American Vogue since 1988?
Anna Wintour.
57
How does the content of 1960s Vogue (set text period) reflect the changing role of women?
While still focused on fashion and beauty, it started to include articles reflecting women's growing independence and intellectual pursuits, such as the "Money Q&A" column. However, much advertising still portrayed stereotypical roles.
58
Apply Van Zoonen's feminist theory to a typical 1960s Vogue advertisement. What might it suggest?
Advertisements often objectified women, using their bodies to sell products, reinforcing patriarchal ideas of women as primarily for display or domestic roles.
59
How does Vogue construct its audience?
It targets an aspirational, affluent, educated, and fashion-conscious female audience, often positioning them as discerning consumers who value luxury, quality, and cultural capital.
60
What is the primary aim of The Big Issue magazine?
To offer homeless and vulnerably housed people a means to earn a legitimate income, thereby helping them to reintegrate into society. Its ethos is "a hand up not a hand out."
61
How is The Big Issue funded and distributed?
It is a social enterprise. Vendors buy the magazine for £2 and sell it for £4 (or current cover price), keeping the profit. It also relies on advertising and donations. Distribution is through its network of vendors as well as through digital magazine stands.
62
How does The Big Issue differ from mainstream commercial magazines in its content and ideology?
It focuses on social issues, current affairs, arts, and culture with a campaigning edge, often highlighting stories of social justice, poverty, and activism, rather than celebrity gossip or consumerism typically found in mainstream lifestyle magazines.
63
According to the "Moving On" article analysis, how does The Big Issue represent its vendors?
It constructs positive stories of vendors overcoming adversity and achieving success, reflecting a diverse range of people (age, ethnicity, gender) who have moved beyond homelessness. This reinforces the magazine's ethos.
64
How can David Gauntlett's ideas of identity be applied to the "Moving On" article in The Big Issue?
The article provides a diverse range of representations and potential role models (the successful ex-vendors) with whom readers and current vendors might identify, offering 'tools' for constructing positive identities.
65
What kind of audience is The Big Issue likely to attract?
Socially conscious individuals, those interested in current affairs, arts and culture, and people who want to support a social cause. The act of buying is also a statement of support.
66
How does the media language in the "Moving On" article (e.g., low angle shot of Marvina Newton) reinforce positive representations?
A low angle shot makes Marvina Newton look powerful and successful. Bright lighting, smiles, and smart clothes connote success and happiness, visually supporting the positive narrative of her story.
67
What does the strapline "A hand up not a hand out" signify about The Big Issue's values?
It signifies empowerment, self-help, and dignity, emphasizing that the magazine provides an opportunity for vendors to work and earn, rather than relying on charity.
68
Why was Sophia Loren an impactful cover choice for Vogue in 1965?
She was a major international film star, known for her beauty, glamour, and strong screen persona. She represented a more mature and sophisticated type of femininity and was one of the most famous actresses in the world.
69
What does the "Money Q&A" column by Sheila Black in the 1965 Vogue suggest about its readership and the changing role of women?
It suggests that Vogue's readers were increasingly interested in financial matters and personal independence, reflecting a shift (albeit slowly) towards women taking more control of their finances and careers, even if societal norms still largely confined them.
70
How did advertisements in 1960s Vogue (e.g., for Imperial Leather soap or Revlon) often construct female stereotypes?
They often depicted women as primarily concerned with their appearance to please men, focused on domesticity, or dependent on products to achieve beauty and social acceptance, reinforcing traditional gender roles.
71
How does the "Bare Essentials" advert in Vogue reflect changing attitudes to the body and beauty?
It points towards a growing emphasis on youthfulness, health, and a more 'natural' (though still carefully constructed) look, alongside revealing more skin, indicative of the "youthquake" and changing social mores of the 1960s.
72
In what ways did the 1965 Vogue simultaneously empower and constrain its female readers?
It offered articles on careers (e.g., "Money Q&A") and featured strong female figures, suggesting empowerment. However, it also heavily promoted consumerism tied to achieving specific beauty standards and reinforced many traditional feminine ideals, potentially constraining them within these roles.
73
How does The Big Issue use celebrity interviews or features, and how might this differ from mainstream magazines?
Celebrities featured in The Big Issue often align with the magazine's social ethos or are used to draw attention to specific campaigns or issues, rather than purely for gossip or lifestyle promotion. The angle is often more serious or socially conscious.
74
What challenges might The Big Issue face as an independent publication in the current media landscape?
Competition from online content, declining print sales affecting all magazines, maintaining distribution networks, and ensuring consistent revenue streams to support its social mission.
75
How does The Big Issue's cover design often aim to attract attention and communicate its brand identity?
Covers are often bold, using striking imagery or typography, and may feature well-known faces or provocative headlines related to social issues to stand out on the street and signal its alternative, campaigning nature.
76
Apply Curran and Seaton's theory to The Big Issue. How does it challenge or conform to their ideas?
The Big Issue challenges the idea that media is solely driven by profit and power by having a primary social mission. Its independent ownership structure supports variety and creativity outside the mainstream. However, it still operates within a capitalist market and needs to generate revenue.
77
Analyse the media language of the July 1965 Vogue cover featuring Sophia Loren. Consider pose, costume, colour, and typography.
Sophia Loren's direct gaze, elegant pose, luxurious green attire and jewellery connote sophistication, confidence, and glamour. The bold Vogue masthead anchors the brand. The colour palette is rich. Typography for cover lines is classic and relatively understated.
78
How does the content of the 1965 Vogue (e.g., travel features, "Picnics: plain and fancy") construct an aspirational lifestyle for its readers?
It showcases exotic locations, gourmet food, and sophisticated leisure activities, suggesting a life of culture, affluence, and social grace that readers are encouraged to aspire to, even if it's beyond their immediate reach.
79
How can bell hooks' ideas about the intersection of race, class, and gender be applied (even if by absence) to the 1965 Vogue?
The 1965 Vogue predominantly features white, seemingly affluent women. The absence or marginalisation of women of colour and working-class women reflects the limited and exclusionary nature of mainstream beauty and fashion ideals of the time, an issue bell hooks critiques as part of patriarchal and white supremacist structures.
80
What role did fashion illustrators still play in Vogue in 1965, alongside the rise of photography?
Fashion illustration offered a more stylized, artistic interpretation of garments and trends, sometimes conveying a mood or concept that photography might not. It co-existed with photography, adding to the magazine's visual appeal and artistic credibility.
81
How does Vogue's global presence (26 international editions mentioned in pre-reading) reflect Hesmondhalgh's ideas about cultural industries?
It shows a major cultural industry player (Condé Nast) formatting its successful product (Vogue) for different international markets to maximise audiences and revenue, while maintaining a core brand identity—a strategy to minimise risk and maximise profit on a global scale.
82
How does The Big Issue's layout and design differ from a high-fashion magazine like Vogue?
The Big Issue often has a more direct, less glossy, and sometimes more text-heavy design. While visually engaging, its priority is often conveying information and stories with impact, rather than the highly stylized, aspirational aesthetic of Vogue. Typography might be bolder and more varied.
83
In what ways does The Big Issue function as an "alternative" media product?
It offers a different ideological perspective from mainstream commercial media, prioritises social justice over profit, gives voice to marginalised groups (vendors), and covers stories often ignored by the mainstream press.
84
How could Stuart Hall's Reception Theory be applied to different readings of a Big Issue article about poverty?
Dominant: Reader accepts the magazine's anti-poverty stance and call for social change. Negotiated: Reader agrees poverty is an issue but may disagree with specific proposed solutions or feel the representation is too simplistic. Oppositional: Reader dismisses the issue, blames individuals for poverty, or disagrees with the magazine's perceived political leaning.
85
How does The Big Issue navigate the balance between its social mission and the need to be commercially viable?
It must produce engaging content that people want to buy, attract advertising (often from ethical brands), and manage its distribution network effectively to ensure vendors can earn an income, all while staying true to its core values of social justice and empowerment.
86
Who wrote The Feminine Mystique and what was its central argument regarding women in the post-war era?
Betty Friedan. She argued that many women, particularly suburban housewives in America, felt unfulfilled by being confined to domestic roles as wives and mothers, despite often being educated and capable, due to a societal pressure (the "feminine mystique") that idealized this limited role.
87
According to Marjorie Ferguson (in Forever Feminine), what dual purpose do women's magazines serve in promoting a "cult of femininity"?
They not only reflect and define the female role in society (socializing women into it) but also create profits for their owners by encouraging consumption to achieve and display this femininity.
88
Jennifer Holt, discussing the "ideal woman" of the 1950s and 60s, suggests the manufacturing sector aimed to make women better consumers of what?
Home products, by reinforcing the concept of women's total fulfillment through the role of housewife and mother.
89
How did many second-wave feminist writers view contemporary women's periodicals (Magazines) of the mid-20th century?
They condemned them for perpetuating narrowly defined, socially acceptable gender roles and encouraging conformity to these norms.
90
What does Jonathan Bignell mean when he says magazines construct "mythic" representations of women?
Magazines create idealized representations of women that embody a "better self which every woman desires to become," which is not necessarily realistic but aspirational.
91
How can the concept of the "feminine mystique" be applied to the 1960s Vogue set product?
While Vogue presented fashion and aspirational lifestyles, many advertisements and features still reinforced domestic ideals or focused on women's appearance for male approval, contributing to the societal pressure on women to conform to certain roles, even as it began to hint at their growing independence.
92
