- Who publishes Attitude? Stream publishing Limited since 2016
- What other products does the publisher publish?
- Are they a major or independent publisher? Major
Majorhttp://www.streampublishing.net/
Stream publishing mainly publishes in store/customer magazines eg. SPAR or Hertz
The only way a media product can exists is through making money therefore in this article it articulates and advertises how up to date and with fresh content the online aspect of the magazine can offer customers
As Attitude online was only established in 2014 this suggests people were buying less hard copies of the magazine
The online version needs to have a positive USER EXPERIENCE
Magazine can also be downloaded as a PDF
Attitude online is an example of synergy as the layout reflects the layout and style of the magazine itself
On the website the adverts consist of holidays and luxury cruises as the idea of the 'pink pound' (the gay community have extra cash as it is assumed majority don't have children)
full page advertisement in the middle of the magazine is £3000
website ad is £150 per month
The website gets 1.8mil unique online users
Attitude is part of a synergistic brand = website, magazine, youtube page, other social media
Many commentators go much further than I have above in pointing to change. Some claim, for example, that digitalisation has transformed cultural production beyond recognition. The internet and the mobile phone have triumphed. The music industry is dying or already dead, they say. Television is over. Book publishing as we knew it is finished. Yet these industries continue to pour out huge amounts of product, employ tens of thousands of people, produce considerable amounts of revenue, and occupy vast amounts of our time. Some optimistically see a new age where distinctions between producers and audiences disappear, and ‘users’ become the new creators. Commentary of this kind often implies, and sometimes explicitly states, that all the old notions and models need to be thrown out, and the history of cultural production is irrelevant because we are now living in an ‘information age’ rather than an ‘industrial age’ (or some other term that serves to simplify the past). Others see transformation just over the horizon. In many cases, it is unclear whether we are reading analysis of what is happening now, or a prediction of the future.
(ibid:3)
3 - Hesmondhalgh - The Cultural Industries (3rd edition) (2013)
Many commentators go much further than I have above in pointing to change. Some claim, for example, that digitalisation has transformed cultural production beyond recognition. The internet and the mobile phone have triumphed. The music industry is dying or already dead, they say. Television is over. Book publishing as we knew it is finished. Yet these industries continue to pour out huge amounts of product, employ tens of thousands of people, produce considerable amounts of revenue, and occupy vast amounts of our time. Some optimistically see a new age where distinctions between producers and audiences disappear, and ‘users’ become the new creators. Commentary of this kind often implies, and sometimes explicitly states, that all the old notions and models need to be thrown out, and the history of cultural production is irrelevant because we are now living in an ‘information age’ rather than an ‘industrial age’ (or some other term that serves to simplify the past). Others see transformation just over the horizon. In many cases, it is unclear whether we are reading analysis of what is happening now, or a prediction of the future.
(ibid:3)
Concentration, integration and co-opting publicity
Cultural industry companies deal with risk and the need to ensure audience maximisation by using strategies that are also apparent in other sectors.- Horizontal integration - They buy up other companies in the same sector to reduce the competition for audiences and audience time.
- Vertical integration - They buy up other companies involved in different stages of the process of production and circulation. Companies might buy ‘downstream’, such as when a company involved in making films buys a DVD distributor, or ‘upstream’, which is when a company involved in distribution or transmission (such as a cable television company) buys a programme-maker.
- Internationalisation - By buying and partnering other companies abroad, corporations can sell massive amounts of extra copies of a product they have already paid to produce (though they will have to pay new marketing costs, of course).
- Multisector and multimedia integration - They buy into other related areas of cultural industry production to ensure cross-promotion.
- Also important is the attempt to ‘co-opt’ (Hirsch, 1990[1972]) critics, DJs and various other people responsible for publicising texts, by socialising with them and sending them gifts, press releases, and so on
David H argues that media industries are risk averse
Is allowing companies to capture information about us a worthwhile price for the conveniences and pleasures afforded by search engines and social networking sites?
Stream are horizontally and multi media integrated eg. magazine and online (synergy)
Stream are horizontally and multi media integrated eg. magazine and online (synergy)
