The magazine industry has survived the coming of the digital age because it has been able to exploit technological advances. Indeed, it has always done so throughout its long history

The magazine industry, over its very successful history, has consistently kept up to date with technological advancements. If you look at the history of magazines there is no solid evidence to contradict this statement. As soon as a new factor in technology develops, the magazine industry uses it to their advantage, for example, the ability to use more advanced technical photography i.e. images developing from black and white to coloured and the ability to edit a photo. It seems that the growth in technology has done nothing but feed the gargantuan industry.


Microsoft predicts in a timeline on its website (dated September 13 1999) and in advertising that a 'slate form' Tablet PC would be a mainstream device by 2004; that eNewstands would 'proliferate on street corners' by 2006; by 2008 ebook titles would 'begin to outsell conventional volumes in most counties'; two years later companies would be giving away ebook devices; and by 2020, the primary dictionary definition of a book would be writing displayed on a computer. Although the timeline up to present isn't entirely accurate, the 2020 prediction can't be discarded and treated as invalid quite yet.

technological developments such as the apple iphone 'app store' had given NME the opportunity to create an application and sell it for 59p, giving the access to band photographs using 'Umee' technology. This benefits NME in the way that their brand will reach a broader range of the population as buying or accessing 'apps' is becoming more and more popular.

subsiquently, technological development has and will benefit the magazine industry- there are for and against points of view on this. The for point of view as mentioned earlier is that there is the opportunity to reach a broader range of he population. Many people possess a computer nowadays, and it almost comes as standard to possess one. This fact can and has been exploited greatly by the magazine industry. The against point of view is that the technological advances may destroy the whole culture of picking up a magazine and reading. As readers hold what they're reading they almost feel part of it, like they're in there own little world. Although it may cost a lot less, religious readers may dwindle and profits my fall.


In direct response to the title, my answer is vaguely distinguished. Magazines have been a very popular product and many contribute to the large profits. In addition to this success, the well developed technology has done nothing but benefit, but technology is ever improving and soon, the hard backed form of our beloved magazines may become obsolete.

IPC

Q1:Why did IPC Media have cause to be optimistic about their business prospects in 2006?
IPC tx unveils TV easy in April 2005 - the third major launch in 16 months from IPC Media’s innovations programme, initiated by chief executive Sylvia Auton in 2003. The magazine is Britain’s very first compact paid-for TV Listings weekly and is backed by a £10million marketing investment.


They have cause to be optimistic about there business prospects, because their magazine revenue was higher than that of other TV and newspaper companies. There magazines were very attractive to the general population and reached a wide range of people.


Q2:According to the article in THE GUARDIAN (Jan 2009) why are the major players in the British magazine industry better placed to weather the economic crisis?
Large publishers such as IPC Media, Condé Nast and Future Publishing, which have invested in extending their brands into TV, web, mobile, radio or shopping, are more likely to weather the impact than those with standalone products or thinner portfolios of titles.


Visit the IPC website and choose two contrasting brands. Create a fact file for each brand.
NME:

• NME has become a truly unique multi-platform media proposition. 
• ME reaches over one million music fans every week. 
• NME is the longest published and most respected music weekly in the world. 
• Every week it gives its readers the most exciting, most authoritative coverage of the very best in contemporary music, including award winning features, the latest releases, live reviews, the definitive guide to the best new bands in its Radar section, as well as a regular look back through the magazine's incredible 58 year heritage.

NUTS:

• Nuts is the number one selling men's lifestyle magazine in the UK, accounting for two out of every five men's lifestyle mags purchased.
• Launched in 2004, Nuts has established itself as the biggest brand in men's media.
• Nuts is PPA's Consumer Brand of the Year 2009

PSYCHO

                                                            PSYCHO-shower scene analysis

1. Each shot has been joined to the next using straight cuts e.g. (shot1) of her sitting at a desk in her dressing gown, writing in a notebook. Following the rules of continuity this is then matched with the next shot (shot 2), a detail shot of the notebook showing her calculations. The dissolve technique is used between the shot of the shower drain and the shot of Marion’s eye.

2. Abrupt changes of pace are employed within the scene e.g. As Marion starts her shower the pace accelerates and remains measured with each shot lasting 4-5 seconds until shot 18. The next shot of a figure of darkness positioned behind the shower curtain, raising a knife lasts 17 seconds. The function of this is to take us from the peaceful solitude of Marion’s shower through rising tension to the moment of crisis.

3. The shot of blood flowing down the shower drain and the eyeshot is matched within the same sequence. Graphic matching is used to create a smooth visual transfer from one shot to the next.

4. This sequence is constructed in a discontinuous manner. The scene runs for three minutes and includes fifty cuts. Like previously explained, many shots are placed within the sequence before the appearance of the dark figure to create a contrast. Tension is built up to moment of crisis, then as the figure begins to stab, shots return to a faster pace, conveying the frenzy of the attack.

5. The film-maker utilises compilation sequences e.g. 9 shots are used, showing Marion showering from various camera angles. This is done to follow the rules of continuity so that the narrative is clear and easy to follow.

6. The film-maker utilises cross-cutting within this sequence e.g. Norman spies on Marion briefly through a hole in the wall and then returns to the Bates house. He is seen from behind slouching resignedly around the ground floor. The action returns to the interior of Marion’s cabin. I believe this emphasises the separation between the two characters (the feelings of love aren’t mutual).

7. Sound is being used in conjunction with editing in a very obvious way e.g. Sound is kept very quiet and low-key up until the later part of this sequence, matching Marion’s feeling of relaxation as she showers. This all changes at the point by which the curtain is pulled back and the figure of darkness raises a knife. Sudden dramatic violin sounds accompany this moment and further emulate the stabbing motion, dramatically enhancing the sense and horror of what is taking place. The change in music to much slower, deeper notes indicates the next change in pace (after the murderer’s exit).