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Exhibition: COVER STORIES
“America was the unquestioned leader
of the popular illustrated magazine.
New ideas were more readily accepted
by the American public
which was less tradition-bound
than many European audiences.”
(Kery, 1982: 63)
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Patrick Rössler
COVER STORIES
Magazine Design in Germany and the U.S. 1920-1970
Exhibition at the Annenberg School for Communication
University of Southern California, Jan 14 – May 21, 2008
developed by the University of Erfurt
sponsored by the Annenberg School for Communication
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Concept of the Exhibition:
¾ mutual relationship between two industrialized countries
from the Western hemisphere – Germany and the U.S.
¾ one type of media: illustrated popular magazines
¾ specific historical period – from the breakthrough of the
medium in the 1920’s until its decline in the 1970’s
¾ theoretical background of the exhibition: globalization
•
•
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the identification of similar needs among media target groups in societies which
share a certain cultural background
the emergence of internationally oriented publishing houses acting as global
media players
the mobility of individual media protagonists which, for different reasons, live
and work in different societies and serve as multipliers for ideas
coorientation without a special indication
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(‘Zeitgeist’, commonplace typographic movements etc.)
Magazine genres included in the exhibition:
¾
¾
¾
¾
¾
graphic design magazines
news magazines
entertainment magazines
fashion magazines
propaganda magazines
EXHIBITION CATALOGUE AVAILABLE
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Magazine genres included in the presentation:
¾
¾
¾
¾
¾
graphic design magazines
news magazines
entertainment magazines
fashion magazines
propaganda magazines
}
selected examples
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Genre I:
News magazines
¾ early history: little evidence for
coorientation
¾ Harper’s Weekly, The Nation,
Saturday Evening Post, Leslie’s
or McClure’s gained merits for
contributing to diversity of
opinions in society
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Genre I:
News magazines
¾ early history: little evidence for
coorientation
¾ Illustrirte Zeitung [Illustrated
Times], Berliner Illustrirte
Zeitung [Berlin Illustrated
Times], Über Land und Meer
[Over Land and Sea] reached
many Thousands among the
bourgeois middle classes
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Genre I:
News magazines
¾ dramatic change at the dawn
of the 20th century
¾ muckracking movement
¾ general acceleration in the
workflow of the news business
(telegraph, rotary press)
¾ photographic illustrations
(half-tone process), modern
photography, photo essays
¾ boosted public interest
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Genre I:
News magazines
¾ after WWI: rise of the popular
illustrated weekly in Germany
¾ BIZ: focus on pictures
“The BIZ adopted the editorial principle that all
events should be presented in pictures with an
eye to the visual dramatic and excluding
everything that is visually uninteresting […]
This reorientation is responsible for the
change charted by the BIZ in the appearance
of illustrated papers, which are no longer
directed by text editors but by those who are
capable, like film writers and directors, of
seeing life in pictures” (Korff, 1927: 646)
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Genre I:
News magazines
¾ iconographic turn from
‘news to read’ to ‘news to see’
¾ leading figures: Kurt Korff
(editor-in-chief), Kurt
Szafranski (‘artistic advisor’)
¾ German competitors:
Münchner Illustrierte Presse
(Stefan Lorant)
Arbeiter Illustrierte Zeitung
(Münzenberg, John Heartfield)
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Genre I:
News magazines
¾ American market: no similar
development (political battle,
role of picture agencies)
¾ 1936: implementation of Life
(dummy: ‘Rehearsal’)
“To see life; to see the world; to eyewitness
great events; […] to see and be amazed; to
see and be instructed. […] Thus, to see, and
to be shown, is now the will and new
expectancy of half mankind. To see, and to
show, is the mission now undertaken by a new
kind of publication, The Show-Book of the
World.” (Luce, 1936)
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Genre I:
News magazines
¾ Luce took BIZ as an example
¾ émigrés Korff (editorial team),
Szafranski (picture agency)
¾ Luce brought samples of
Weekly Illustrated (Lorant,
London) to New York
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Genre I:
News magazines
London) to New York
¾ Huge success of Life concept
(e.g. Focus, Click, Friday)
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Genre I:
News magazines
London) to New York
¾ Huge success of Life concept
(e.g. Focus, Click, Friday)
¾ high prestige for war coverage
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Genre I:
News magazines
¾ influence on Germany limited
by historical situation
¾ during the war: Signal,
propaganda magazine in 20
languages for occupied nations
¾ after WWII: Heute [Today],
news magazine for reeducation of German people
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Genre I:
News magazines
¾ political magazine: Time,
unparalelled until 1946
¾ singular concept, ‘timestyle’
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Genre I:
News magazines
¾ political magazine: Time,
unparalelled until 1946
¾ singular concept, ‘timestyle’
¾ after WWII: Spiegel [Mirror]
founded as a copy of Time
¾ Allied forces officers introduced
Anglo-saxon journalism
¾ first issues: copies of articles,
layout, cover design, pagesize
¾ formative influence of Spiegel
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Genre II:
Entertainment magazines
¾ German term ‘Magazin’ used for
special type of periodical
¾ book-sized, illustrated monthly,
100-200 pages, adhesive binding,
dedicated to the entertainment,
social and cultural life
¾ report in 1927: Saturday Evening
Post, The American Magazine
predecessors of the ‘currently
emerging German Magazin’
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Genre II:
¾ German term ‘Magazin’ used for
special type of periodical
¾ book-sized, illustrated monthly,
100-200 pages, adhesive binding,
dedicated to the entertainment,
social and cultural life
U.S. “country of origin of these magazines”
which deliver “the favourite diet of the
American reader: novels, brief and
exciting; illustrations; short stories, articles
on marriage, family, and crime; movie and
theatre life, sports, a page of humour etc.”
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Genre II:
¾ misleading argument, only true for
basic orientation and content mix
¾ different format, ‘fast consumption’
¾ new generation of city slickers,
rather than rural white middle-class
¾ photography instead of illustrations
¾ suggestive, sometimes innocuous
depiction of nudity
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Genre II:
¾ Trendsetter: Querschnitt (1921-36)
¾ publisher (1924): “even in America,
overfed and thoroughly spoilt by
magazines, its appearance has
caused a sensation among all familiar with life and culture in Europe”
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Genre II:
¾ Trendsetter: Querschnitt (1921-36)
¾ publisher (1924): “even in America,
overfed and thoroughly spoilt by
magazines, its appearance has
caused a sensation among all familiar with life and culture in Europe”
¾ similar target group and concept:
The New Yorker; founder Ross’
apartment filled with foreign
magazines he studied for layout
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Genre II:
¾ other outlets exploited public
demand for visual thrill: Uhu, Das
Magazin [The Magazine], Das Leben
[The Life], Revue des Monats
[Monthly Revue], Scherls Magazin
¾ kaleidoscope of modern lifestyle
with juicy photographs
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Genre II:
¾ other outlets exploited public
demand for visual thrill: Uhu, Das
Magazin [The Magazine], Das Leben
(The Life), Revue des Monats
[Monthly Revue], Scherls Magazin
¾ kaleidoscope of modern lifestyle with
juicy photographs
¾ some reference to movie magazines
(e.g. Photoplay)
¾ adopted: Spicy Stories; later: Playboy
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Genre II:
¾ U.S.: Life success triggered less
serious publications in ‘Magazin’
style: Foto, Picture, Peek, Pic etc.
¾ most relevant: Look (1937)
“Look tells stories in pictures”
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Genre II:
¾ U.S.: Life success triggered less
serious publications in ‘Magazin’
style: Foto, Picture, Peek, Pic etc.
¾ most relevant: Look (1937)
“Look tells stories in pictures”
¾ BIZ photo editor Zentner travelled
to the U.S.; result: Der Stern [Star]
¾ Model for magazine mainstream in
Germany after WWI (‘Illustrierten’)
¾ sex, sentiment, sensation, sadism
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Conclusion:
Mapping the magazine coorientation
diagram indicating cross-references between American
(squares) and German (oval) outlets
green: general coorientation, unspecific similarities
red: global players
blue: common target groups
black: individual influence
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pre
1920
Illustrierte
Zeitung
Art Nouveau
‚Jugendstil‘
BIZ
Photographic
‚reproduction
Time
MIP
(Lorant)
Dada / Bauhaus
Constructivism
BIZ
(Korff)
AIZ
(Heartfield)
‚New Typography‘
1930
Life
Signal
Click
1940
New York School
New Rationalists
Focus
Friday
Heute
Der Spiegel
1950
1960
post
Pop Art
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pre
1920
Illustrierte
Zeitung
Art Nouveau
‚Jugendstil‘
BIZ
Photoplay
Photographic
‚reproduction
Querschnitt
Time
MIP
(Lorant)
Dada / Bauhaus
Constructivism
BIZ
(Korff)
AIZ
(Heartfield)
New
Yorker
Uhu
Leben/Revue
Scherls
1930
Spicy
Stories
Life
Look
Der Stern
Signal
Click
1940
New York School
New Rationalists
Foto/Peek
Picture/Pic
Focus
Friday
Heute
Der Spiegel
Stern
Quick
Kristall
Revue/N.I.
1950
Playboy
1960
post
Pop Art
29 Gallery
Playboy
pre
1920
Der Bazar
Vogue
Vanity
Fair
Harper‘s
Bazaar
Art Nouveau
‚Jugendstil‘
Illustrierte
Zeitung
Jugend
1930
Vogue
(Agha)
Photoplay
Photographic
‚reproduction
Querschnitt
Time
MIP
(Lorant)
Dada / Bauhaus
Constructivism
Vogue
BIZ
BIZ
(Korff)
AIZ
(Heartfield)
New
Yorker
Uhu
Leben/Revue
Scherls
die neue
linie
Vanity Fair
(Agha)
Harp. Baz.
(Snow)
Spicy
Stories
Life
Look
Der Stern
Signal
Click
1940
New York School
New Rationalists
Foto/Peek
Picture/Pic
Focus
Friday
Heute
Der Spiegel
Stern
Quick
Kristall
Revue/N.I.
1950
Playboy
1960
post
Pop Art
30 Gallery
Playboy
pre
1920
Der Bazar
Vogue
Vanity
Fair
Harper‘s
Bazaar
Art Nouveau
‚Jugendstil‘
1930
Vogue
(Agha)
BIZ
Photoplay
Photographic
‚reproduction
Dada / Bauhaus
Constructivism
Vogue
Illustrierte
Zeitung
Jugend
Querschnitt
Time
Gebrauchsgraphik
MIP
(Lorant)
Die Form
BIZ
(Korff)
AIZ
(Heartfield)
bauhaus
Uhu
das neue
frankfurt
Neue Revue
Mag. f. Alle
die neue
linie
Advertis.
Arts
Vanity Fair
(Agha)
New
Yorker
USSR in
Construct.
Leben/Revue
Scherls
Fortune
NewsWeek
Harp. Baz.
(Snow)
Spicy
Stories
AD / PM
You
1940
Life
Freude &
Arbeit
Kunst im
III. Reich
Look
Direction
Glamour
of Hollyw.
Der Stern
Signal
Click
Foto/Peek
Picture/Pic
Focus
Ken
View
Friday
New York School
New Rationalists
Heute
Der Spiegel
Stern
Quick
1950
Film &
Frau
Kristall
Revue/N.I.
Portfolio
Flair
Playboy
Magnum
1960
post
Twen
Pop Art
InterView
Nova
31 Gallery
Playboy
Quick
Conclusion:
¾ Majority of influences: general process of coorientation or
unspecific similarities; only occasionally evidence for adoption
or imitation.
Reason: testimonials emphasize originality.
¾ Least important dimension: influence of global players
Common phenomenon: target group orientation
Dominant: cross-national coorientation via influentials
Â in the magazine history of the early and mid-20th century,
the process component of globalization was based on the
mobility of individuals who served as ‘living transmitters’
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of new ideas (Beck, 2000).
Conclusion:
¾ Across different periods, neither of the countries was the
more influential partner
¾ Instead, dynamics vary between different eras:
Â 1920s / early 1930s –
majority of innovations on the German market
Â Nazi rule / post-war –
Germany lost avant-garde position to U.S.
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34
Thank You!
- and: Enjoy the Exhibition!
[email protected]
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