Analysis of Regional Magazine Contents Pages

Analysis of Cornwall Life

To start, I am going to analyse Cornwall Life's contents page. I think that this design sticks to conventions of the genre and tried to portray the audience through use of plain colours, cultural images etc. In terms of a main overview of the page, it is 'classy' - as shown through typography - and it also incorporates a 'tidy' layout. From first glance, I can assume the target audience is of an older age and perhaps of a higher social class - this is through the content of the images appealing to a refined, cultured audience and also because of the archaic typography choices. 

In terms of a masthead on this contents page, there isn't on present - which doesn't seem unusual for a regional magazine contents page when looking at others of the game genre. What regional magazines do seem to incorporate however are subheadings - these are used instead of a masthead to indicate what section is referring to what content - ensuring that the audience don't get confused and can navigate the page quickly. 

A serif style type face is used on the page which follows an archaic style. The type faces are thin and connote feminism due to this quality and the stereotypes surrounding it. In terms of the colour of the type face, it follows that of the page's theme and connotes elegance. The fonts used are traditional to the genre and in terms of spacing and alignment follow conventions. Two different type faces are used which are easily differentiated due to their case and also their size. Main headings are in upper case as well as being of a larger size - in opposition to this, main article text is smaller and in lower case. This follows conventions and stereotypes. Furthermore, some type is in a bold - this shows important typography in relation to the rest of the text. 

Concerning the lexis of the page, it seems relatively formal and presents the correct information and word choices wanted to be seen by the older, higher classed audience. Lines are coherent in terms of representation towards their audience. It is also topical in terms of their audience's interests. Short lines such as 'Out & About' present the themes associated with their audience and conventions and associations attached with their lexical interests.

There are four main images on the page which connote the content of the magazine as well as portraying themes of culture for the regular audience. All four images follow similar themes, whilst covering different topics and ideas. They all present cultural ideas which highlights the demographic of the magazine. the image to the left is a drawn image which connotes culture through arts and crafts - this tells they audience what to expect from the content of the magazine. The image of the candles connotes religion, so perhaps they magazine assume that their older, higher classed audience would follow more religious themes than other might do. The images are all different sizes, which are positioned together in a grid style layout. This is stylistic in its style and design and works well in a professional style. 

The layout is one that's slightly more complex than some other contents page designs seen in regional magazines. The magazine's layout is thought out and professional looking. The three columns of text allow for easy reading as the eye can follow down separate parts of the page at a time. We can look at the first two and understand the context of that, and then look at the final column as this contains extra type which can be viewed separately. The page is split into two main parts - the top part contains the four images and the bottom sections contains the text. This style of layout is seen more in magazines such as Kerrang, rather than a regional magazine, however, due to content and images it works well as you are allowed to concentrate on one part of the page at a time. In terms of alignment throughout the page, we don't see a lot in terms of columns and images lining up. This breaks conventions slightly as this is something I might have expected to have seen from a magazine of this genre. 

Three main colours are used on the page which is stereotypical for this genre. The 'rule of three' contains black, white (both of these a highly conventional colours of the genre) and also gold. The gold connotes elegance and an expensive product, whereas black and white presents simplicity and neutrality. The white is a conventional background colour - it allows the text on top of it to stand out and become more prominent. Moreover, due to this, it also allows the gold to stand out in front of the black to a higher level. The colour black is a conventional colour for article typography of this genre as it can oppose the other colours which are presented on the page. Finally, a few other colours are used in the right hand column, however they are part of the advertisements and not part of the page layout. These adverts help to add a slight bit of differentiation to the colour scheme without detracting from the page's simplistic nature and professionalism.

Analysis of Cornwall Today

Next I have decided to analyse the contents page design for an issue of Cornwall Today. This page tries to show off the culture and geographical landscape of county in an attempt to lure the audience to read more. The main design is relatively simple, with two main columns which splits the text into sections. Regarding the target audience, from looking at this design I can assume that it is aimed at a slightly lower age of audience than the previous magazine. This is down to the type choice as well as the quite modern layout design. 

Again, in terms of a masthead or main title for the page, this contents page is missing that feature. It instead houses many smaller subheadings which include 'features', 'news, views & events' and 'regular sections'. This feature is in place so that the audience can find the section that they're looking for quickly and efficiently. It saves the audience time and makes navigation easy. 

In terms of typography, 'light' weighted typefaces are used which connotes feminism. Furthermore, we can see two or three different type faces throughout the page - this is to allow differentiation between different sections and differences in importance of text. The headings have all been made using a thin, quirky style typeface which is rounded and connotes an inviting atmosphere due to this. Moreover, some parts of these headings have been made bold to make them stand out, for example, 'competitions'. The main sections of text have been created using a traditional typeface - something you would expect to see on a contents page of this genre. Parts of this text have also been made bold so that their importance can be made subliminally higher. Furthermore, key words have also been highlighted in terms of being made bold to ensure that they grab the readers eye. I also feel like this feature allows the page to have slightly more depth and character. 

Lexical choices on the page connote a regular audience who are of an older age bracket. For example, sections such as 'regular sections' and 'news, views & events' tell us that the magazine expects a reoccurring audience who has interests in local events and views - perhaps 'local views' is something which doesn't attract a younger audience. Following on from this, the other lexical choices are relatively similar in terms of audience portrayal and the way that they present the audience. An older audience would want to see things explained in slightly more depth than a younger person might do, hence the lack of abbreviated words and phrases throughout the page.

The main image on the page breaks conventions slightly because of the way it incorporates a graphic of the region alongside a photographic image. This montage style design looks good in terms of its professionalism and style, however is unconventional of the genre. The colours used in the main section (the part of the image incorporating the water) works well as this contrasts the type above it. Moreover, this image portrays themes attached with the coasts of Cornwall and the stereotyped water based lifestyle of Cornish people. The graphic of Cornwall - in the bottom right - shows some places in Cornwall - perhaps relating to a forthcoming article in the magazine. This image connotes laid back, relaxed themes - it allows the audience to enjoy the magazine without being distracted by the background image. 

The layout of the page is relatively basic - it incorporates a two column set up which channels your eye down the page. The text is split into sections, determined by the spacing left in between each subheading and bullet point. The text doesn't use text boxes to allow text to stand out because the text opposes the background colours well. In terms of overall alignment, the text is lined up in columns in such a way so that it looks professional and fits convention.

With regards to the colour palate, it is relatively basic and laid back; it incorporates three main colours - dark blue, light blue and brown. Each colour on the page has its separate connotations. The two blues connote the stereotypically thought of Cornish landscape, see and sky. Whereas the brown in the landscape graphic connotes the land itself. The colour of the text works well as this opposes the lighter colours shown in the waves in the background image. 

Analysis of 247 (South West Edition)

In terms of an overview of this page, taken from a copy of 247's South West Edition of the magazine, it is the most modern and simplistic of all three I have chosen to analyse. It is aimed at the youngest audience of the three and uses popular cultural context which relates to the audience's interests. The colours connote youth and also the images are exciting and grab the audience's attention.

The contents page provides little in terms of masthead/subheading - it has a very simplistic design which appeals to the target audience. The page is split into simple sections and you young audience don't need a generic layout to feel comfortable with their product. This allows the page to be 'quick and to the point' because of the lack of masthead. Despite this, on first glance the page may be slightly hard to determine what it is, due to the lack of direction and labeling. 

This page uses three different type choices, that I can see. This variety allows for the page to be interesting and to connote different sections with different type. Moreover, this helps to present the idea of not knowing what to expect - excitement - something their younger target audience would want to expect. The main type style is bold (which perhaps connotes the masculinity and excitement going on in the main image), this is accompanied with a slightly thinner type style that helps to balance the gender equality as it connotes more of a feminine theme. The main bulk of the information is in the left hand column and is in the type style you would expect from a magazine of any genre. In terms of this section of text, it is all in alignment, split up into small paragraphs and is concise and to the point. With reference to the style of the type, the colours oppose that of the background text boxes to ensure that it stands out and doesn't get lost. This is important for their target audience as it allows to reader to quickly find the sections they're looking for. 

Concerning the use of 'lines' and lexis, this page utilises text in such a way so that it represents a young audience. Text is kept short and concise so that the audience don't get bored and brief words and points are mentioned, which could actually be confusing - e.g. 'regulars'. Despite this, the text as a whole does a good job to represent the audience and genre.

The main image on the page is exciting and grabs the attention of the audience when they turn the page. It quickly connotes the main ideas and themes of possible text on the page/an up and coming feature page they can look forward to. The image is bright, which works well as it opposes the darker text boxes and it connotes rebellion due to connotations attacked with BMX. This is something which the young target audience is drawn to. Moreover, one stereotype attached with a younger audience is that they're 'lazy' - therefore this is why I believe the image is so large. It gives the audience more time to look at the images than to read the content; in some cases the image can talk for the content of the text. A bright sky is used in the image which sticks to themes associated with regional magazines, however breaks conventions associated with magazines aimed at a younger audience. Here the producers may be trying to appeal to a wider audience, explaining the crossover of themes.

As secondary image is used to connote the magazine's issue number - a feature which I think is quite pointless as the image just shows the cover of the magazine which the audience is reading. This image does however fill excess space and look relatively stylistic among the text in the left hand column.

In terms of layout and design, the unconventional use of two text boxes around the edges of the page and a large image in the middle, works well. It draws the eye into the image and allows the audience to interpret information through that. Regarding alignment, all text and the image at the top right are aligned, keeping the page neat and tidy. Two text boxes lift text off of the page, allowing it to be easily read and understood. Overall, the page is simplistic and stylish. It appeals to the niche, young audience because of this and it presents young themes, through use of colour, positioning and image size, which would make the audience feel 'cool'.

Finally, in regarding use of colour, the page as a whole represents Stanley Hall's theory of youth as rebellious and depressed. This is presented through use of connotations attached with the colours black and grey, both used on the page. This use of colour looks good because it stands out from the text above it, as well as the image to the top and to the right. It creates dynamic contrast which presents modern stylistic layouts to the audience. 

Analysis of Regional Magazine Covers

Analysis of Devon Life

I am going to be analysing 'Devon Life' - a regional magazine produced and published in the county of Devon. The magazine is aimed at people aged 35-65 in social grades A-C1. It's aimed at heterosexual males and females, however, perhaps moving closer to a higher percentage of females, due to the archaic typography. The magazine shows little racial diversity so I assume it's aimed at white British, in particular people born in Devon. The genre of Devon Life is regional magazine and it's purpose is to inform and entertain.

To start my analysis, the masthead is large and takes up roughly 1/8th of the page, which fits convention. The spacing and alignment fits conventions as the type is spaced closely together and it is central, in terms of the page as a whole. The typography style for the masthead fits convention and the letting is in capitals with no space in between both words.

There is a bevel and emboss style design on the masthead which allows it to stand out due to the darker edges. This helps to lift it off of the background and give a 3D effect. Moreover, in terms of colour, the masthead is coloured in such a way so that the colours oppose each other and it stands out in a conventional manor. The masthead connotes the magazine's target audience through an archaic style font - this is something better known associated with older people. Moreover, the type is light in terms of it's weight which allows for an elegant connotation.

In terms of typography and lines on the front cover, the type is relatively conventional and the 'sneak peaks' of information are concise and straight to the point. These two elements allow the magazine to follow other magazines of the genre and also to allow the audience to read and understand the information quickly. Most of the text has a bevel along with some being in a serif-based font. One criticism, or area where conventions are broken is the use of typefaces and sizes used on the page. I feel that there are too many used in terms of lines on the page - whether it's a completely different typeface or if it's just an italic version of an existing font. This makes it look slightly unprofessional and busy.

In terms of the main image, it covers the whole page (as you would expect from a conventional magazine of this genre), and it is bright and lively. These features connote the target audience, of older women, as it demonstrates an upbeat however calm atmosphere and mood. The image's aim is to demonstrate the natural beauty of Devon, while also engaging the audience and trying to sell the magazine.

They have used a bright image which incorporates blue sky - this connotes happiness and a lively atmosphere. It makes the cover look colourful as well as grabbing the audience's attention. This image also allows for the magazine to attract plant and garden lovers as well, due to the array of colours amongst the shrubbery. The main image also works well because the proportion of ground and sky works in terms of the page layout - the percentage of sky allows for the page to be split, with the masthead standing out because of the colour contrast. 

Structurally, Devon Life's layout is highly conventional, straying away from broken conventions as magazines such as those of the alternative genre might do. This tells me that they are aiming the magazine at a wide demographic rather than a niche audience. Text is placed around the sides of the page which allows for attention to be drawn to the main image - perhaps the magazine's main selling point. Furthermore, colourful graphics are used at the bottom and top left hand sides of the page to add depth and allow text to be separated in specific sections.

Conventionally, the bar code is positioned in the bottom right hand corner, positioned vertically - something which is seen fairly often due to designers wanting to incorporate type into positions which it couldn't be otherwise. Furthermore, the price is positioned in the bottom right hand corner - disguised by the bar code so that the buyer doesn't get 'put off' by the value of the magazine.

Devon Life's colour palate is relatively simple with only two main colours being used, as appose to the conventional 'rule of three'. This may however be down to the bright, colourful background image which, if put alongside another main colour could make the cover too busy. The conventional colour of white is used for the masthead and most of the smaller text on the page, along with the graphical text box at the bottom of the page.

A secondary colour of purple is used, which I am assuming has been colour picked from the plants and shrubbery in the main image. There is also a small logo in the top left of the page, which incorporates the colour of red - this maybe why the designer refrained from using another colour. If another was used it could have detracted from the main image's natural beauty and spoiled the cover. 

Analysis of Wild Cornwall

Wild Cornwall is the second regional magazine I am going to be analysing - in terms of its sub-genre, Wild Cornwall is a wildlife magazine. The audience for Wild Cornwall is middle aged wild life lovers who are in between social grades A and C1. This is because an interest in wildlife is quite a niche interest and also something that your average working class person doesn't stereotypically enjoy. This magazine is aimed at both males and females and is aimed at the population of Cornwall - due to the content of the magazine. Moreover, the magazine isn't specifically aimed at one racial grouping, unlike DevonLife. Finally, this magazine's primary purpose is to inform, however it is also set up to entertain it's audience.

The masthead on the front cover uses an interesting, however slightly out of convention design. I would expect to see a more archaic type style, perhaps with a serif rather than a bold typeface. This doesn't mean that it's not stylistic however, it works well and helps to sell the magazine as it stands out. Moreover, from looking at conventional mastheads, I would expect for it to be in the colour of white, rather than cream/pale beige. The masthead is also perhaps larger than you would expect from a regional magazine, however it is positioned at the top of the page in a relatively central position.

In terms of colour, Wild Cornwall haven't used a particularly bright font/background image to ensure that the masthead stands out which is against convention. Usually, I would expect to see a masthead which 'jumps out at me' due to the contrast in colour. The masthead also uses a very slight emboss to give the page a slight textured feel along with giving it a very slight three dimensional feel.

The typography and lines on this issue's cover are few and far between. The designer has broken conventions and stereotypes through their use of type on the cover. A thin, almost illegible typeface is used and no text on the page stands out, with exception to the main masthead. They have chosen to use a serif-based typeface which almost goes against the masthead which is bold and has curved lettering.

Wild Cornwall only incorporates one image onto the front cover, which allows for a simplistic design layout - following on from other regional magazines. The main image is a long shot which connotes action and an outdoors, 'exploring' message. The main image's job on a regional magazine is also to show the audience what's on offer in region as well as what's on offer in their magazine; by placing a rarely seen animal on the front cover allows for this to be strongly connoted. Furthermore, the otter in the image is looking straight at the lens of the camera, which draws in the audience and helps to grab their attention, in turn helping to sell the magazine.

The background image doesn't work as good as some of Wild Cornwall's competitors in terms of creating contrast between the type - the colours seems to get lost within sections of the image. The magazine does however incorporate a logo - this connotes a formal nature as it represents the 'Wildlife Trusts' - it connotes the prestige of the magazine and also from a design and layout perspective helps to make the cover look busier.

In terms of structure, the layout is incredibly simple, perhaps too simple for a regional magazine when comparing it with its competitors. Quite a simple, amateur layout is incorporated into this magazine cover design which makes it look unprofessional and almost lazy. Type is positioned in reasonably central areas, along with not much of it in place. Despite this allowing the audience to enjoy the main image on the page, I do however feel it connotes a magazine which doesn't have a lot to offer their readers inside. For example, if there was twice as much text on the front cover, I would anticipate twice as much information inside the magazine.

Type isn't aligned on the page, nor is it positioned in particularly striking positions - this doesn't grab the audience's attention and breaks most conventions I would stereotypically expect to see from a cover of this genre.

Colour Palate's on regional magazines usually incorporate at least two different main colours, however Wild Cornwall have decided to only use one on this issue. The colour palate is extremely basic - this follows on from the simplistic layout, however it still contradicts stereotypical conventions of most regional magazines. The use of white is common for a regional magazine, however this struggles to stand out and have an impact on the page - perhaps this is down to the typography style.

Analysis of Cornwall Today

Finally, in terms of cover analysis, I will be looking at Cornwall Life - perhaps the most professional looking of all three covers. Cornwall Today is a regional magazine which looks at all aspects of Cornwall - whether it's food, locations or recent events. This magazine is primarily aimed at people between 35 and 65, who are also in social grades A-C1. The magazine is aimed at straight males and females and it shows little racial diversity due to the location of the county and the interest which it gains. Due to the colour scheme I do however think that the magazine is aimed more at females than males. Finally, the magazine is set up to entertain the audience as well as inform them.

Cornwall Today's masthead sticks to convention well as the archaic/serif typeface represents that of many other regional magazines. Furthermore, the first line of the masthead is in capital letters which fits convention and the second line shows contrast through staying in lower case.

In terms of positioning and spacing, the masthead takes up the conventional amount of space on the page - 1/8th - and the lettering is spaced in such a way so that it is fits and looks professional yet doesn't look compact. There is a very slight drop-shadow/bevel on the text to give the masthead depth and help lift it off the page. This bevel also helps to add a dynamic nature and help to create creativity and contrast between the background image and the white masthead.

In terms of typography and lines two different type styles are used in terms of the bulk 'line' text. The first is heavier in terms of its weight and stands out more; the second is thinner and would be read by the audience if they become engaged by the bolder type. The text here refrains from using a serif which is something which contrasts from some regional magazines. Perhaps this is because this magazine is trying to aim their audience at a slightly lower age of person, therefore avoiding serifs, archaic typefaces etc. The magazine cover decides to use extremely large font to represent the '10' - this makes this section stand out above others and is conventional of magazines which try to appeal to a large audience.

There is only one image used on the front cover of this issue of Cornwall Today, which is reasonably conventional when looking at other regional magazines of a similar genre. The main image used is one similar to that of DevonLife's - it's in place to demonstrate the natural beauty on offer inside the magazine and connote what's on offer for its audience. A long shot is used on the cover which allows for many elements of the Cornish landscape to be presented. The shot allows the audience to see elements of Cornwall's history and heritage (through the old mining building), the long coastlines and also the sea and sky. All of these elements grab the audience's attention and make them want to buy the magazine so they can explore further. The main image is bright and of a high quality - something conventional of most regional magazines.

The layout of this front cover highly professional and connotes a magazine which has a lot on offer for people who live in Cornwall. It is attractive and bring up current cultural and social ideas. The layout as a whole uses a structure, with graphical text boxes positioned at the top and bottom of the page. These allow the focus to be on the main image and they also allow for stylistic presentation regarding the type which stands out as a consequence.

All of the text down the right had side is in alignment with each other - this is conventional and is professional looking. Moreover, in the top right hand corner there is an extra text box with more information - this connotes 'exciting info inside the magazine' and will make the magazine look like its got a specials section.

The 'win' text bubble at the bottom of the page drawn in the audience's eye and grabs their attention. The short line is intriguing and makes the audience want to read on and find out what they could win. This section is a strong section for the magazine because the magazine will stereotypically sell better if people think they might get something back from their purchase.

Finally, three different colours are used throughout this cover design - this sticks to convention as it follows the 'rule of three'. The use of white allows type to stand out from the background image/text boxes and the two different shades of purple compliment each other and help present specific parts of information. All of the colours help to create definition and contrast between the background image and the text the designer wants to stand out. The use of purple does however connote a slight feminine edge to the cover as this is a colour which presents associations with primarily women.

Initial Thoughts on Genre and Styles

John Friske - “Attempts to structure some order into the wider range of texts and meanings that circulate in our culture for both the convenience of both producers and consumers.”

After having explored a variety of different regional magazines I have decided that, due to the fact that a lot of regional magazines are aimed at an older audience, I needed to create a magazine which appealed to a wide age range. I have decided on this because from my research, I have decided that young people aren't interested in exploring the print medium when it comes to Cornish regional magazines - they would rather explore their county's heritage, places to visit etc. online, through digital media. This is one of the reasons why I have decided to create a website for my magazine - it will appeal to the younger audience more than the older audience. Having noted this, I decided that by appealing to a wide age range I can attempt to hoax in the small proportion of the younger audience as well as a regional magazine's conventional audience.

To try and do this I will need to research what all age ranges want to see in my regional magazine - it will need to incorporate sections concerning music, arts, culture, places to visit, food, exciting opportunities in the county as well as things like work placements and job opportunities.

Through looking at existing regional magazines, I can tell, through looking at conventions, features etc. that these are aimed at an older audience (Cornwall Today, Devon Life). I don't want to break away from these conventions too much, however I will need to incorporate a broader range of content to attract the demographic which I am aiming for.

Impacts of Technology

As stated by Peter Fraser, 'A broader version of conventional literacy, which enables, all visual, aural and digital forms, seeking to enable people to become thoughtful producers and interpreters of media'. From looking at this quote, I can see that there have been technological and institutional advances, within the magazine media industry, which have allowed companies to produce a product best suited for their audience. 

Due to the fact that the technology around us has developed in recent years - print industries have had to 'keep up to date' with advances and to ensure they keep with what their audiences want to see. In order to increase independent publishing, a company called Desktop Publishing has been put in place to allow affordable publishing to rise. This is alongside software such as Quark Express.

With thanks to technological advances, we can now view our media on a range of different products and devices. One of these which stands out in particular is Apple's iPad as this is a device which allows for downloading of print media. This feature allows audiences to download copies of their favourite magazine/newspaper from stores such as iTunes to view at the click of a button. This feature allows people to view things a lot quicker and easier, as well as saving money on production costs and material wastes. This process allows a wider variety of audience to view the product easier as well as allowing the magazine companies to present more information through different features and design ideas. For example some companies use animations and videos within their product, making it multimedia and interactive. Furthermore, this type of product can also house web links, extra content and in some cases 360 degree viewing. More and more of the market's audience are turning to this revolutionary style of consumption of the media as it saves time and is convenient. 

This style of production seems to be a growing trend among large producers of media products due to audience consumption as well as the growing competition concerning that area of the market place. Consumers are seeming to prefer this type of consumption to print due to the digital features available. Some of the digital magazines on the market place allow you to sign up to a subscription, Vogue in particular. Due to the audience being able to interact with the content of the product means that they can experience it better, which, from looking at this area of the market, seems to be what they want. The following quote is by Gauntlett - it looks at digital technologies within the magazine industry - “The view that the internet and new digital media as an optional extra is replaced with the recognition that they have fundamentally changed the ways we engage with all media”.

As stated by Plunkett - “A new generation of UK media power players are ditching the traditional gatekeepers and going straight to their audience via the web”. This quote is extremely relevant in terms of audience's current areas of interest as the internet is a hub of social interaction in terms of media outlets. With having content at audience's fingertips, it allows them to view whatever they want whenever they want. NME and other massive producers of print and digital products such as Vogue use Twitter and other social networking outlets to make and bond connections between their company. They use these sites to inform their audience of latest news, products and general advertising. However, they product social media which is based around their audience, in the same way that their magazines are. This is the easiest it has ever been for companies to directly interact with their audiences, allowing targeting their product a lot more simple than it might be otherwise. 

In terms of this technological research as a whole, I feel as if it has helped focus my intentions and knowledge of the market place. It will help to ensure my product is a success and is produced in a similar way to that of my competitors. 

Legal Restraints

When looking at creating and publishing a magazine, it is important to explore the different rules and regulations which surround the content of what can and cannot be published. If these rules and regulations are not adhered to, severe consequences can be put in place to ensure that the companies involved are stopped from publishing. In terms of case studies, I have been looking at the case of 'The News Of The World'. In this instance the 'phone hacking scandal' took place, which broke many different publishing laws and rules surrounding content and privacy. Throughout research I explored many articles, however this one stood out in terms of content and information provided:

http://www.guardian.co.uk/uk/2011/jul/04/milly-dowler-voicemail-hacked-news-of-world

In terms of breaking this set of laws laid out by the two main regulatory bodies, one law stands out when it comes to being 'broken'. This is the law which surrounds it being illegal to lie in a published, commercial document. This law is in place to ensure that the audience is reading correct information and that it is researched and balanced. Despite this, magazines which include 'gossip' sections often break this law as they 'fabricate' stories to try and make their magazine appeal to their target audience more than their competitors do. 

In the print media industry there are two main regulatory bodies, PCC and ASA, assess and control the content of magazines. The PCC is set up to focus specifically on whether the magazine's content is correct in terms of representing their audience. This policy is alongside having a range of other codes of conduct that the publishers must follow if they want to adhere to their rules. All publishers must follow the code of 'accuracy'. This makes sure that the content of all magazines doesn't provide false information, whether that be through text or even images. Moreover, publishers must also ensure that the 'opportunity to reply' code is followed throughout content. This ensures that a full image of the story is presented to the reader and they don't just hear one side of the story. PCC also ensure that companies have a way that their audience can reply to their product, to correct, complain, inquire etc. Finally, this regulatory body ensures that 'privacy' is one of their highest priorities when assessing print mediums. The producers of media must ascertain permission from persons/associations involved and then they must ensure that they content which they cover doesn't contradict or go against anything mentioned by the subjects in question. 

Secondly, the other regulatory body, ASA, is in place to ensure that content of marketing, advertisements etc. is controlled and assessed in depth. ASA do this through a complaints investigation made about adverts, promotional material and also marketing devices. Advertising must adhere to ASA's rules and regulations to ensure that they can be used by the marketing company. These codes overlook ideas concerning marketing ideas which could mislead the audience through ambiguity regarding ideas and suggestions. Companies must hold documentary evidence which shows this.

Furthermore, and finally, media corporations can't lie, can't include pornography and can't include racism in their work as this goes again codes of conduct set out by the regulatory bodies.

Code of Practise-

All members of the press have a duty to maintain the highest professional standards. The Code, which includes this preamble and the public interest exceptions below, sets the benchmark for those ethical standards, protecting both the rights of the individual and the public's right to know. It is the cornerstone of the system of self-regulation to which the industry has made a binding commitment.

It is essential that an agreed code be honoured not only to the letter but in the full spirit. It should not be interpreted so narrowly as to compromise its commitment to respect the rights of the individual, nor so broadly that it constitutes an unnecessary interference with freedom of expression or prevents publication in the public interest.

It is the responsibility of editors and publishers to apply the Code to editorial material in both printed and online versions of publications. They should take care to ensure it is observed rigorously by all editorial staff and external contributors, including non-journalists, in printed and online versions of publications.

Editors should co-operate swiftly with the Press Complaints Commission in the resolution of complaints. Any publication judged to have breached the Code must publish the adjudication in full and with due prominence agreed by the Commission's Director, including headline reference to the PCC.

1	Accuracy
	i) The Press must take care not to publish inaccurate, misleading or distorted information, including pictures. ii) A significant inaccuracy, misleading statement or distortion once recognised must be corrected, promptly and with due prominence, and - where appropriate - an apology published. In cases involving the Commission, prominence should be agreed with the PCC in advance. iii) The Press, whilst free to be partisan, must distinguish clearly between comment, conjecture and fact. iv) A publication must report fairly and accurately the outcome of an action for defamation to which it has been a party, unless an agreed settlement states otherwise, or an agreed statement is published.
2	Opportunity to reply
	A fair opportunity for reply to inaccuracies must be given when reasonably called for.
3	*Privacy
	i) Everyone is entitled to respect for his or her private and family life, home, health and correspondence, including digital communications. ii) Editors will be expected to justify intrusions into any individual's private life without consent. Account will be taken of the complainant's own public disclosures of information. iii) It is unacceptable to photograph individuals in private places without their consent. Note - Private places are public or private property where there is a reasonable expectation of privacy.
4	*Harassment
	i) Journalists must not engage in intimidation, harassment or persistent pursuit. ii) They must not persist in questioning, telephoning, pursuing or photographing individuals once asked to desist; nor remain on their property when asked to leave and must not follow them. If requested, they must identify themselves and whom they represent. iii) Editors must ensure these principles are observed by those working for them and take care not to use non-compliant material from other sources.
5	Intrusion into grief or shock
	i) In cases involving personal grief or shock, enquiries and approaches must be made with sympathy and discretion and publication handled sensitively. This should not restrict the right to report legal proceedings, such as inquests. *ii) When reporting suicide, care should be taken to avoid excessive detail about the method used.
6	*Children
	i) Young people should be free to complete their time at school without unnecessary intrusion. ii) A child under 16 must not be interviewed or photographed on issues involving their own or another child’s welfare unless a custodial parent or similarly responsible adult consents. iii) Pupils must not be approached or photographed at school without the permission of the school authorities. iv) Minors must not be paid for material involving children’s welfare, nor parents or guardians for material about their children or wards, unless it is clearly in the child's interest. v) Editors must not use the fame, notoriety or position of a parent or guardian as sole justification for publishing details of a child’s private life.
7	*Children in sex cases
	1. The press must not, even if legally free to do so, identify children under 16 who are victims or witnesses in cases involving sex offences. 2. In any press report of a case involving a sexual offence against a child - i) The child must not be identified. ii) The adult may be identified. iii) The word "incest" must not be used where a child victim might be identified. iv) Care must be taken that nothing in the report implies the relationship between the accused and the child.
8	*Hospitals
	i) Journalists must identify themselves and obtain permission from a responsible executive before entering non-public areas of hospitals or similar institutions to pursue enquiries. ii) The restrictions on intruding into privacy are particularly relevant to enquiries about individuals in hospitals or similar institutions.
9	*Reporting of Crime
	(i) Relatives or friends of persons convicted or accused of crime should not generally be identified without their consent, unless they are genuinely relevant to the story. (ii) Particular regard should be paid to the potentially vulnerable position of children who witness, or are victims of, crime. This should not restrict the right to report legal proceedings.

10	*Clandestine devices and subterfuge
	i) The press must not seek to obtain or publish material acquired by using hidden cameras or clandestine listening devices; or by intercepting private or mobile telephone calls, messages or emails; or by the unauthorised removal of documents or photographs; or by accessing digitally-held private information without consent. ii) Engaging in misrepresentation or subterfuge, including by agents or intermediaries, can generally be justified only in the public interest and then only when the material cannot be obtained by other means.
11	Victims of sexual assault
	The press must not identify victims of sexual assault or publish material likely to contribute to such identification unless there is adequate justification and they are legally free to do so.
12	Discrimination
	i) The press must avoid prejudicial or pejorative reference to an individual's race, colour, religion, gender, sexual orientation or to any physical or mental illness or disability. ii) Details of an individual's race, colour, religion, sexual orientation, physical or mental illness or disability must be avoided unless genuinely relevant to the story.
13	Financial journalism
	i) Even where the law does not prohibit it, journalists must not use for their own profit financial information they receive in advance of its general publication, nor should they pass such information to others. ii) They must not write about shares or securities in whose performance they know that they or their close families have a significant financial interest without disclosing the interest to the editor or financial editor. iii) They must not buy or sell, either directly or through nominees or agents, shares or securities about which they have written recently or about which they intend to write in the near future.
14	Confidential sources
	Journalists have a moral obligation to protect confidential sources of information.
15	Witness payments in criminal trials
	i) No payment or offer of payment to a witness - or any person who may reasonably be expected to be called as a witness - should be made in any case once proceedings are active as defined by the Contempt of Court Act 1981. This prohibition lasts until the suspect has been freed unconditionally by police without charge or bail or the proceedings are otherwise discontinued; or has entered a guilty plea to the court; or, in the event of a not guilty plea, the court has announced its verdict. *ii) Where proceedings are not yet active but are likely and foreseeable, editors must not make or offer payment to any person who may reasonably be expected to be called as a witness, unless the information concerned ought demonstrably to be published in the public interest and there is an over-riding need to make or promise payment for this to be done; and all reasonable steps have been taken to ensure no financial dealings influence the evidence those witnesses give. In no circumstances should such payment be conditional on the outcome of a trial. *iii) Any payment or offer of payment made to a person later cited to give evidence in proceedings must be disclosed to the prosecution and defence. The witness must be advised of this requirement.
16	*Payment to criminals
	i) Payment or offers of payment for stories, pictures or information, which seek to exploit a particular crime or to glorify or glamorise crime in general, must not be made directly or via agents to convicted or confessed criminals or to their associates – who may include family, friends and colleagues. ii) Editors invoking the public interest to justify payment or offers would need to demonstrate that there was good reason to believe the public interest would be served. If, despite payment, no public interest emerged, then the material should not be published.
THE PUBLIC INTEREST There may be exceptions to the clauses marked * where they can be demonstrated to be in the public interest. 1. The public interest includes, but is not confined to: i) Detecting or exposing crime or serious impropriety. i i) Protecting public health and safety. iii) Preventing the public from being misled by an action or statement of an individual or organisation. 2. There is a public interest in freedom of expression itself. 3. Whenever the public interest is invoked, the PCC will require editors to demonstrate fully that they reasonably believed that publication, or journalistic activity undertaken with a view to publication, would be in the public interest and how, and with whom, that was established at the time. 4. The PCC will consider the extent to which material is already in the public domain, or will become so. 5. In cases involving children under 16, editors must demonstrate an exceptional public interest to over-ride the normally paramount interest of the child.

http://www.dailymail.co.uk/news/article-2240715/Leveson-Report-Investigative-journalists-breach-data-protection-rules-face-2-years-jail.html

Through looking at this article, I have began to understand why it is important for journalists to cut out the use of personal information in their work - this follows on from the 'phone hacking scandal'.

Institution

There are four main institutions in the magazine industry, which sell a product to with the intention to make a profit from it. These firms are IPC Media, Hearst, Bauer and Conde Nast. Throughout this post I will be exploring these magazine institutions - looking at the market place and also how these corporations control it. Between them, these four major institutions produce a range of popular magazines including Cosmopolitan, Vogue, Kerrang, NME, Q, Now and many more. Through looking at these, I can see that, due to their popularity, audiences still like things which are a bit different, or something which might stand out - as I understood throughout my AS task, wehn exploring 'indie'/alternative magazines. 

‘The magazine industry represents a hybrid structure. The top tier has an oligopolistic structure, with four firms controlling the majority of revenues in the industry. The remaining lower tier, however, resembles a monopolistic competitive market structure. Remember that in this type of structure, thee are many sellers offering products that are similar but are not perfect substitutes for one another. Numerous publishing companies vie for a share at this end of the market. The large number of individual publishers suggests that there will be several titles geared towards specific interests, yet each is somewhat unique in its presentation. Overall, the prices paid for magazines indicate more of a monopolistic competitive structure. If the entire magazine industry operated as an oligopoly prices would be similar across the industry.' - Alan B. Albarran

Albarran, as stated above, backs up my point concerning the four institutions which control the marker place. Albarran also mentions that these companies create products which are similar in terms of the messages that they convey - he says that lots of similar magazines struggle to fit the their originally set out purpose. From Alan B. Albarran's statement I can begin to understand how IPC Media, Hearst, Bauer and Conde Nast control the majority of the revenue produced in this industry. All of these firms produce many magazines, covering a range of genres each. For example, IPC Media, produce magazines such as Look, Now, NME and Marie Claire - this shows us how this company has a large proportion of the industry power. Despite this, however, in 2011 as a result of a large decline in sales, it meant that they dropped 14 percent of their circulation - mainly because of a fall in sales regarding NME. This shows me that regardless of a company's industry power, through producing a range of 'generic' magazines, which are a lot like their competitor's, sometimes it can do you as much bad as it can good. From this, I have learnt that individual magazines can become just as successful as those which are part of one of the big four companies. 

In terms of regional magazines, they seem to have been becoming increasingly popular as they produce something that a lot of other magazines can't do - they produce local information aimed directly at the specific demographic of that area. Northcliffe Media controls 84 publications, including magazines and newspapers, read by 5.8 million readers. One of these publications is 'This Is Cornwall' - a magazine focuses on the region I will be targeting. Northcliffe Media is owned by one of the largest conglomerates in Europe - this is The Daily Mail and the General Trust. In a sense this contradicts Albarran's statement as he only mentioned four companies which controlled the market place. When exploring this company however, we can see that this is one of the most powerful firms in the UK, despite 'This Is Cornwall' standing out as magazine which might be individually produced. In conclusion to this statement, I can understand that despite individual magazines becoming more and more popular, they just can't compete with a conglomerate which had an annual revenue of £1989.8 million in 2011. 

As well as 'This Is Cornwall', the magazine '24/7' has also grown to become one of the most popular free magazines around. Starting off in Cornwall and Devon and aimed at 18-30 year olds, it's content now explores Bristol, Bath, Gloucestershire, Somerset, South Wales and Wiltshire. A free copy can be acquired from thousands of retails outlets as well as being able to download a copy from their website. This magazine is a good demonstration of how an individual magazine (only uses Out Of Hand Ltd for print production) can become successful, without help from a major conglomeration. Despite 24/7's popularity, it may be down to the fact that it is free rather than the content and production of the magazine. This shows us that perhaps these corporations only control this market because they're interested primarily in the revenue rather than the final production and creativity going into the magazine. From looking at 24/7 I can see how audiences do also like to explore magazines which aren't generically popular and focus more on the content of its magazine rather than revenue made.