Magazines

Thèse de doctorat en histoire de l'art, soutenue le 13 novembre 2020 à l'université Paris Nanterre, sous la direction de Rémi Labrusse et Christian Joschke.

PhD dissertation "Graphic Propaganda : Photomontage in the Visual Culture of the French Left (1925-1939)". Université Paris Nanterre, 2020. Under the supervision of Rémi Labrusse and Christian Joschke.

Cette étude porte sur la place du photomontage dans le graphisme français de l’entre-deux-guerres, plus particulièrement dans la presse illustrée, l’affiche et la propagande politique. Fondé sur la combinaison d’éléments photographiques de façon à créer des images composites, généralement reproduites par impression photomécanique, le photomontage a été promu par les graphistes d’avant-garde mais aussi par les éditeurs de presse à grand tirage. Il devient à partir des années 1920 un élément caractéristique de la culture visuelle moderne, jusqu’à investir très largement les pavillons de l’Exposition internationale de 1937. Si les développements du photomontage en URSS et en Allemagne sont bien connus, la France a souvent été considérée comme réticente à l’usage de ce procédé, privilégiant un modernisme mesuré et un ancrage dans le dessin. En analysant le rôle des réseaux culturels communistes dans le développement du photomontage politique, nous identifions des phénomènes de transferts culturels étroitement liés à la sociabilité militante. L’étude de la production imprimée des organisations de gauche permet d’expliciter les fonctions attribuées à l’image comme moyen d’influence politique. Sur le plan iconographique, les photomontages se caractérisent par des procédés rhétoriques qui orientent la lecture du document photographique. Sur le plan du montage, s’opère une conjonction de temporalités hétérogènes. En prêtant une attention particulière à la fois aux conditions de production, aux réseaux d’acteurs et aux discours de légitimation, nous proposons un essai en iconologie politique qui en même temps se situe au plus près de la matérialité des images.

This study examines the place of photomontage in French graphic design between the two world wars, particularly in the illustrated press, posters and political propaganda. Based on the combination of photographic elements to create composite images, generally reproduced by photomechanical printing, photomontage was promoted by avant-garde graphic designers but also by editors of large-circulation magazines. From the 1920s onwards, it became a characteristic element of modern visual culture, until it was widely used in the pavilions of the 1937 Exposition internationale in Paris. While the developments of photomontage in the USSR and Germany are well known, France was often considered to be reluctant to this technique, favouring instead a measured modernism and drawn illustrations. By analysing the role of communist cultural networks in the development of political photomontage, we identify phenomena of cultural transfer closely related to militant sociability. The study of the printed production of left-wing organisations makes it possible to clarify the functions attributed to the image as a means of political influence. On the iconographic level, photomontages are characterised by rhetorical processes which guide the reading of the photographic document. On the level of montage, they allow for a conjunction of heterogeneous temporalities in a single image. By paying attention to the conditions of production, to the networks of actors and to the discourses of legitimation, this essay in political iconology remains as close as possible to the materiality of images.

On the occasion of the 2020 exhibition "LIFE Magazine and the Power of Photography," this essay reevaluates longstanding myths about "the photo essay at life" while tracing how and by whom the magazine's varied photo features were actually produced over the course of LIFE's 36-year history.

At the beginning of the 1970s, broadcast news and a few newspapers such as The New York Times wielded national influence in shaping public discourse, to a degree never before enjoyed by the news media. At the same time, however, attacks from political conservatives such as Vice President Spiro Agnew began to erode public trust in news institutions, even as a new breed of college-educated reporters were hitting their stride. This new wave of journalists, doing their best to cover the roiling culture wars of the day, grew increasingly frustrated by the limitations of traditional notions of objectivity in news writing and began to push back against convention, turning their eyes on the press itself. Two of these new journalists, a Pulitzer Prize—winning, Harvard-educated New York Times reporter named J. Anthony Lukas, and a former Newsweek media writer named Richard Pollak, founded a journalism review called (MORE) in 1971, with its pilot issue appearing the same month that the Times began publishing the Pentagon Papers. (MORE) covered the press with a critical attitude that blended seriousness and satire—part New York Review of Books, part underground press. In the eight years that it published, (MORE) brought together nearly every important American journalist of the 1970s, either as a writer, a subject of its critical eye, or as a participant in its series of raucous "A.J. Liebling Counter-Conventions"—meetings named after the outspoken press critic—the first of which convened in 1974. In issue after issue the magazine considered and questioned the mainstream press's coverage of explosive stories of the decade, including the Watergate scandal; the "seven dirty words" obscenity trial; the debate over a reporter's constitutional privilege; the rise of public broadcasting; the struggle for women and minorities to find a voice in mainstream newsrooms; and the U.S. debut of press baron Rupert Murdoch. In telling the story of (MORE) and its legacy, Kevin Lerner explores the power of criticism to reform and guide the institutions of the press and, in turn, influence public discourse.

Gendered visual communication is a major part of contemporary, mediated discourse, yet these expressions are seldom reflected upon from a designers' perspective. Whose voices are empowered in tabloid newspapers and gendered magazines? In what ways can we express gender? In this visual essay, I provide an auto-ethnographic perspective, and use personal reflections and visualisations to show a process of deconstructing, shaping and encoding gendered expressions on mobile platforms from my point of view, as a designer and a woman. The essay contributes to research writing methodologies, by questioning conventional ways in which scholarly research is presented. I draw on concepts of feministic speculative designs and gender-flips to demonstrate how the designer can change the meaning of digital spaces. I show this with two examples; an online newspaper design and a student project of an online women’s magazine. I found that an awareness of such gendered expressions can challenge existing norms, enable creativity, innovative designs and shape new meanings in popular cultural expressions.

Título: Revista: um objeto de estudo (quase) por desbravar
Palavras-chave: estudos do jornalismo; imprensa; revista
A revista só recentemente começou a ser privilegiada como objeto de estudo académico e é nos Estados Unidos que a maior parte da investigação se concentra. David E. Sumner, professor na Ball State University, estuda este campo há décadas e decidiu prestar homenagem à influência e ao poder das revistas ao longo do século XX, dando o título The Magazine Century, ao seu livro sobre a história deste género de imprensa nos Estados Unidos, nos últimos 100 anos. Na Europa, destaca-se o trabalho de algumas universidades britânicas, como Cardiff, Falmouth, Lancashire, Londres, Sheffield e Sunderland, sendo também de assinalar o trabalho desenvolvido na comunidade académica brasileira. Este estudo pretende dar a conhecer as razões que justificam investigar o objeto revista no âmbito dos Estudos do Jornalismo, motivando a academia portuguesa para um campo de análise (quase) por desbravar, sem escamotar as dificuldades que este impõe.
Tim Holmes e Liz Nice sublinham que “não existe nem pode haver uma abordagem unificada à investigação e estudo desta forma de média”, uma vez que “as revistas são artefactos culturais polimórficos e polissémicos, incapazes de serem analisados através de uma única vertente teórica ou uma única metodologia de desconstrução” (Holmes e Nice, 2012: 142). As académicas americanas Sammye Johnson e Patricia Prijatel também definem as revistas como “artefactos culturais que refletem as regras sociais, as tendências demográficas, espelhando interesses de género, preocupações étnicas e os eventos da atualidade” (2007: 74), sem esconder um segundo nível de funcionamento: como instrumentos de marketing que procuram atrair leitores. Para as autoras, é o facto de se situarem nesta interseção entre o marketing e cultura que torna as revistas importantes enquanto construtoras de memória social, uma perspetiva de análise também explorada por Carolyn Kitch, da Temple Unversity (Kitch, 2005: 3).
Apesar da riqueza deste campo de investigação, muitos teóricos que se dedicam ao estudo do jornalismo continuam a usar a palavra ‘revista’ de forma quase pejorativa (Holmes e Nice, 2012: 2). As revistas de consumo, em particular, são vistas por alguns investigadores com um prolongamento do universo da publicidade, o que significa que não podem ser inseridas no campo científico do jornalismo (Jeremy Tunstall, apud Holmes e Nice, 2012: 2).
Para além daquilo que Holmes, Nice e Johnson classificam como “snobismo académico”, a ausência de interesse da comunidade científica pelo território das revistas também pode ser considerada um tipo de sexismo, uma vez que a maioria dos estudos mais conhecidos nesta área dizem respeito a revistas femininas e são maioritariamente elaborados de uma perspetiva feminista (Holmes e Nice, 2012: 158,159). Por outro lado, Sammye Johnson queixa-se da resistência académica a estudos sobre a revista que explorem vertentes de análise mais práticas. A teórica aponta ainda o facto de o reduzido número de estudiosos dedicados a esta área terem formações muito distintas, o que resulta numa multiplicação de abordagens teóricas e de metodologias de análise, tornando difícil perceber quais são as mais apropriadas e passíveis de facilitar a publicação em revistas científicas (apud Holmes e Nice, 2012: 159).
Para Joy Jenkins, da Universidade do Missouri, a multiplicidade de abordagens teóricas ao objeto revista revela a necessidade de encontrar uma nova definição para este tipo de publicação (Jenkins, 2013: 23). De acordo com a académica americana, as revistas têm sido analisadas como 1) publicações (onde predominam as análises de conteúdo); 2) instituições (enquadram-se aqui os estudos históricos) e 3) organizações (análises económicas). Uma nova definição de revista tem de traçar fronteiras que incluam as três perspetivas e ainda o impacto da Internet neste tipo de publicação. Jenkins faz uma proposta: uma revista é “uma organização focada na distribuição de conteúdo envolvente com um ponto de vista particular dirigido a uma audiência específica, seja alargada ou especializada, através de veículos como um produto impresso, uma publicação digital, um website, ou uma aplicação móvel, com o potencial de refletir a história, estimular a mudança, e influenciar os leitores” (Jenkins, 2013: 23,24).  Os itálicos da autora pretendem sublinhar a abrangência desta nova definição e mostrar a riqueza deste campo científico.
Referências bibliográficas:
Holmes, T., & Nice, L. (2012). Magazine Journalism. Sage.
Jenkins, J. (2013). Magazines in the new millennium: A concept explication (pp. 1–33). Apresentado na Association for Education in Journalism and Mass Communication, Washington DC. Obtido de http://citation.allacademic.com/meta/p669701_index.html
Johnson, S., & Prijatel, P. (2007). The Magazine from Cover to Cover (2a ed.). Nova Iorque e Oxford: Oxford University Press.
Kitch, C. (2005). Pages from the Past: History and Memory in American Magazines. Chapel Hill: University of North Carolina Press.
Sumner, D. E. (2010). The Magazine Century: American Magazines Since 1900 (1.a ed.). Peter Lang Pub Inc.

In this special issue, a select group of Architects explore the possibilities of drawing in Architecture. Whether from a computer, generating mechanical interfaces, or even resorting to collages, architecture drawing seems to be more and more versatile.

PhD dissertation: This dissertation examines how mass magazines framed American abstraction for a broad public during the years following the Second World War.  While art historians have devoted much attention to Abstract Expressionism’s place within the New York art establishment and its international promotion, the presentation of this and other art to the American public has been largely overlooked.  Most Americans who did not frequent museums and galleries or read art journals would have experienced art primarily in mass magazines such as Life, Time, Look, Newsweek, and The Saturday Evening Post.  This dissertation investigates how such magazines defined modern art and its role in postwar American culture for millions of readers.

During the late 1940s mass magazines portrayed modern art as a culturally divisive issue in articles that ridiculed abstraction, describing it as a mediocre European derivation that required no skill and questioning whether it was art at all or actually a highbrow hoax on middle America.  As American abstraction gained support from art institutions and markets in the 1950s, magazines depicted modern art as a commonplace consumer object, a stylistic choice that demonstrated both the consumer’s personality and capitalist freedom.  By the end of the decade, mass magazines characterized Abstract Expressionism as the embodiment of American freedom and individualism, the leading international style, and an asset in the cultural Cold War.  Yet letters to the editors reveal that readers were still not convinced of the value of abstract art.  These mass magazine representations of abstract painting and readers’ responses to it constructed both a vision of postwar American culture and a middle American public for it.

Emigre magazine, published from 1984-2005, is often considered a provocative example of experimental publishing, critical writing, and design authorship. Its message remains relevant today, as designers continue to question their roles and the status quo, within and beyond the discipline’s boundaries. To heighten the magazine’s visibility to scholars and a new generation of designers, this author designed
a public program focused on Emigre at the Goldstein Museum of Design. The result of this research is the Emigre Magazine Index, an online finding tool that situates the contents of all sixty-nine issues, including typefaces, contributors and their works, in an interactive context. The Index is publicly accessible and points toward, but does not reproduce, the physical magazine issues. In this paper, the theory and practice behind the project are discussed in relation to hierarchy and navigational issues, digitization challenges, and the significant role that design can play in these things.

Les novellisations des magazines spécialisés forment le continent oublié de l’histoire culturelle du cinéma, malgré la précocité avec laquelle ce type de presse à grand tirage s’est tourné vers les adaptations romancées de films, l’intensité des circulations médiatiques dont elles témoignent et la longévité des publications qui leur étaient dédiées : un périodique comme Le Film complet, principalement lu par un public jeune, féminin et de classe moyenne, a publié pas moins de 3297 numéros entre 1922 et 1958, chacun d’entre eux proposant a minima un récit de 10-15 pages agrémenté de photographies. Leur étude pose certes des difficultés, liées à l’absence d’archives d’entreprises de presse, au manque d’informations sur les auteur·e·s des récits et leurs publics, ainsi qu’à la disparition des films. Les « films racontés » n’en constituent pas moins une trace précieuse et significative des modes de diffusion et de consommation du loisir cinématographique avant les années 1960, comme l’ont montré les travaux ayant esquissé l’étude de cet objet.
Notre article prolonge et approfondit l’examen de cette source au regard de l’histoire des publics et de la réception, à partir de l’étude de cas des novellisations publiées dans Le Film complet dans les années 1950. Il est en effet possible d’étudier la production et les usages de ces textes médiatiques, en tant que pratiques éditoriales et cinéphiliques, en les mettant en relation avec les discours tenus sur eux dans le courrier des lecteurs du magazine, aussi bien par le journaliste chargé de modérer les échanges, qui est également un auteur de récits, que par les lecteur·rice·s.

Une exposition au Jeu de Paume, à Paris, rend hommage au travail de Germaine Krull, qui a fait de la photographie une forme d’expression et d’émancipation autant que d’engagement. De la Russie soviétique à l’Inde en passant par la Seconde Guerre mondiale, cette pionnière a traversé tout le XXe siècle.

В данной статье дается краткая характеристика журнала и обзор историографии о нем.

To link: Новоселова С.А. Журнал «Старые годы» (1907-1916) как исторический источник // Состояние и перспективы социально-экономического развития Северо-Запада России: Тезисы докладов 11-й научной межвузовской конференции аспирантов и студентов, посвященной 300-летию взятия Выборга войсками Петра I и 65-летию Победы в Великой отечественной войне (27-28 апреля 2010 года). Выборг, 2010. С.159-164.
Key words: old magazines, art, Veiner, heritage

The view of magazines as “a medium of public instruction” (Proctor and Weaver, 2017, p. 49) has received relatively little attention from magazine scholars. This chapter aims to fill this gap by considering the didactic and pedagogical approaches employed by various magazines and the ways in which they emulate, challenge, or complement institutionalized face-to-face instruction in various educational settings. To show that teaching and learning are inherent to the magazine form, the chapter (a) defines “education” and “pedagogy” in the context of magazine media; (b) enumerates the types of periodicals serving instructional purposes; © overviews the historical roots of magazine education; (d) assesses the value of magazine contents through the lens of Bloom’s (1956) taxonomy of educational objectives; (e) discusses the effects of magazine pedagogy on audiences; (f) catalogs variations in the symbolic power distance between text producers and audiences; and (g) outlines magazines’ contemporary uses of multimodal instruction and interactive tools to assess and (re)direct learning.

Este relato de experiência pretende expor modos de trabalho em grupo utilizados durante o período de isolamento social devido à covid-19, através da execução de uma revista por alunos do 5º semestre do Bacharelado em Jornalismo. Os estudantes desenvolveram o projeto de modo interdisciplinar, envolvendo quatro docentes. Além da produção à distância, que altera a prática tradicional de redações in loco, a revista desenvolvida se destaca por ter público majoritariamente feminino e jovem enquanto fala de assuntos como esporte, tecnologia e cultura. Dificuldades da produção também serão apresentadas.

In 2020, the world is fighting against the coronavirus pandemic, and many people share the same mind that it may be the end of the world as we know it. The virus has not merely infected humanity, but also many corporations and their employees. A lot of magazine and newspaper publishers are not immune either, as they have been suffering from the collapse of the advertising industry, not only since the coronavirus hit, but in fact, as noticed by many, since the invention of the internet. As the race to make a coronavirus vaccine is currently in progress, another race to find another vaccine against this other kind of epidemic is being proposed.

El presente trabajo indaga sobre el discurso visual de la revista Billiken en la década del 50. El principal tema de interés son los imaginarios sociales que giran en torno a los llamados “Niños Billiken” y su significación en la memoria escolar de muchas generaciones.  Propone para ello, la realización de una instalación artística site-specific en la Sala Juvenil de la Biblioteca Pública de la UNLP. La misma consiste en la realización de un diorama abierto de gran tamaño, compuesto de figuritas e imágenes presentes en ejemplares de la revista. Mi intención es reflexionar sobre el carácter ideológico de los contenidos y practicas propuestas desde la revista.

Mémoire d'étude, sous la direction de Monsieur Denis Bruna.

Cette étude propose de revenir sur le lieu commun qui érige au XXe siècle la transition de l'illustration de mode à la photographie de mode, en lui redonnant toute sa dimension. Les premières photographies de mode, qui apparaissent peu après l'invention du médium, manifestent une forte influence de l'illustration de mode, en vogue dans la presse. Ensuite, à partir du début du XXe siècle, l'illustration, en plein âge d'or, se voit rattraper par la photographie de mode. Le photoreportage de mode en  consiste  une  extension,  fixant  sur  l'objectif  des  modèles  sur  les  lieux  de villégiature,  et  annoncent  l'émancipation  de  la  femme.  En  fin  de  compte,  la divulgation  de  la  photographie  de  mode,  qui  s'accompagne  de  sa  légitimation progressive, s'installe dans les années 1930 face à une illustration de mode toujours surreprésentée. C'est pourquoi l'objectif de cette investigation vise à démontrer en quoi les photographies de mondanités ont opéré la transition d'un médium à unautre, tout en dégageant les principaux enjeux.

In March 1923 Karel Teige received a letter from Bauhaus director Walter Gropius regarding the International Architecture Exhibition, a section of the first Bauhaus Exhibition in Weimar. Gropius wanted there to be strong Czech representation, and Teige aided him in this aim. With Teige’s assistance, Czechoslovakia would be the nation with the third largest number of architects represented, behind only Germany and Holland. The following study shows that it is in this moment that an important, dialogic relationship between the Bauhaus and members of the Czech avant-garde began. Although it is often assumed that such a relationship developed only with the second Bauhaus director Hannes Meyer, contact was already rich and productive under Gropius. And Teige and Gropius would continue to correspond and collaborate past the end of the latter’s tenure as Bauhaus director in 1928. When Meyer came to replace Gropius in leading the Bauhaus, his Marxist politics and interest in Constructivism were more in line with Teige’s own aesthetic and political proclivities, and relations between the school and the Czech avant-garde further flourished. Teige would lecture at the Bauhaus in early 1930, directly following a visit of Meyer to Prague, and that February, a special issue of ReD—an avant-garde Czech magazine edited by Teige—was dedicated to the Bauhaus. The following article posits that productive relations of mutual exchange forged under the first Bauhaus director paved the way for later increased activity under the second, and thus describes the transfer of influence at the Bauhaus from Gropius to Meyer not as a beginning of the relationship of the Bauhaus and the Czech avant-garde but rather as a continuation, and strengthening of previous relations.

SQUIZZ WORLD magazine is one of the most favorite and famous magazines among children. With stories, games quizzes SQUIZZ WORLD is an age-appropriate magazine which also gives a fair environment to every child  to develop a habit of brain exercise in a fun way.

In a cluttered and increasingly complex environment characterized by the multiplication of platforms, a constellation of quality football print magazines has emerged as an alternative destination in sports journalism. To trace the expansion of the independent football magazine market, in-depth interviews were conducted with the editors of eight prestigious projects from seven countries: Howler (United States), Panenka and Líbero (Spain), Mundial (United Kingdom), So Foot (France), 11 Freunde (Germany), Offside (Sweden), and Ballesterer (Austria). Independent football magazines position themselves as part of a journalistic counteroffensive to the metric-driven, routinized, and complacent approach that currently shapes mainstream sports media output. In contrast to the primary orientation of sports journalism towards economic capital, their editorial philosophy is built on three core axes aimed at developing cultural capital: (1) a diverse and multifaceted football agenda that embraces unheard voices and far-reaching issues of a sociocultural, geopolitical, and economic nature; (2) the importance of dedicating time and resources to create a visually distinctive output; and (3) a deliberate emphasis on nostalgia and resistance to the seemingly endless commodification of football. As part of their creative approach, gathering and nourishing a community of readers has been fundamental to the growth and sustainability of those projects.

L'articolo indaga la funzione della rivista fascista "Etiopia latina"  - che si stampava ad Addis Abeba - come diffusore dell'ideologia razzista tra i coloni italiani.
“Etiopia latina” appare particolarmente significativa per il suo essere tanto una rivista del fascismo-movimento, combattiva e anche aggressiva, quanto un periodico patinato di bell’aspetto, con l’ambizione di dialogare con la vita di tutti i giorni del cittadino e della cittadina in colonia.

Published after two international conferences dedicated to the issue of the relation between mediums and architecture, this work examines the productive forces behind the architectural discourse between the 1960's and the 1980's. Observing the roles of Alvin Boyarsky, Charles Moore, Ettore Sottsass et Alessandro Mendini, Reima Pietilä, Peter Eisenman, and others in exhibitions and journals, this publication shows how the aforementioned were able to shape the architectural discourse and production of their time by using magazines and exhibitions as privileged spaces for the fabrication of postmodern architecture.

Editors: Véronique Patteeuw, Léa-Catherine Szacka

Authors: Berry Bergdoll, Eva Branscome, Stephanie Dadour, Irina Davidovici, Daniela Fabricius, Kim Foerster, Elisabeth Keslacy, Michael Kubo, Andrew Leach, Igor Marjanovic, Sylvia Micheli, Patricia Morton, Véronique Patteeuw, Eeva-Liisa Pelkonen, Léa-Catherine Szacka.

Sugli ebook "aumentati" e per estensione sulle applicazioni per i magazine digitali si articola più di un dibattito che alterna grandi speranze e sconsolate profezie di fallimento. Le potenzialità dei digital media per tablet e smartphone infatti sono incredibili e le possibilità di arricchimento del contenuto fantastiche tanto che almeno fin dalla nascita dell'iPad (2010) chi del settore credeva a una rinascita del periodico illustrato e del manuale multimediale non aveva dubbi sulle potenzialità del nuovo eccezionale strumento. Eppure... Eppure dopo un primo momento di euforia il settore sembra come essersi sgonfiato e i dati registrano proprio questo. Presi dal delirio di imbottire i nuovi ebook e le nuove riviste di video, sonoro, animazioni, slideshow, giochi e test forse abbiamo perso di vista qualcosa. Qualcosa che la carta ha da sempre: l'essenzialità, la semplicità, la conclusività. Oppure non abbiamo ancora trovato il linguaggio giusto per un media mobile e in continuo sviluppo?

The age after ten and before fifteen is the age of major developments of a child's mind and body. Lots of physical changes are there if your children are crossing 12 and more. This time can lead to lots of self-consciousness and psychological changes. With balanced physical exercises, it is necessary to bring your child something knowledgeful and entertaining to read. The biggest benefit of reading is that it makes you smarter and focused. So, if your child gets familiar with reading techniques then this habit can completely change his/her life too. 12 is the age of having fun and playing games with friends, so it is difficult to make your child reading books. So, we have put together some interesting and useful books which are worth reading for 12-year-olds. Squizzle World Ever since its launch at the start of 2018, Squizzle has become the favorite children magazines and enjoyed across the country. Squizzle is made from the compilation of Squirrel and Puzzle. When it comes to problem-solving, squirrels have been found to have the best memory. They can solve problems which

Este artículo aborda el aparecimiento y desarrolló de las revistas en el Ecuador, desde 1873, en que salió a la luz la primera de ellas, hasta inicios del siglo XXI. Es un recorrido por 130 años de historia, en los cuales se puede advertir, por ejemplo, que tres de cuatro revistas (76 %) fueron literarias-culturales y religiosas, y el resto, políticas, sociales, económicas, institucionales. La fuente documental básica es la tesis de grado de licenciatura titulada Síntesis histórica de las revistas en el Ecuador, que fue dirigida por el autor de este trabajo.

ÖZ Medyanın dijitalleşmesi ve yeni medya ortamlarının artması ile birlikte yayın süreçlerinde, yayınların içeriğinde hızlı bir değişim ve dönüşüm yaşanmaktadır. Bu dönüşüm özellikle gazete ve dergilerde kendini göstermektedir. Dergilerin sayısallaşması ve tamamen dijital ortamlarda yayınlanması gazetelere nazaran daha hızlı gerçekleşmektedir. 'Doğuştan dijital' neslin internet ve mobil cihazlarla adeta bütünleşmesinden dolayı dijital içeriklere uyum sağlamaları zor olmamıştır. Sürekli olarak mobil cihazlarla yaşayan doğuştan dijitaller dijital ortamlarda dijital içerikleri geleneksel medya içeriklerine oranla daha çok takip etmektedirler. Bu içeriklerin başında da dijital dergiler gelmektedir. Cep telefonu, iPad, tablet ve sosyal ağlardan kolayca ulaşılabilen dijital dergiler yayıncı, oyucu ve reklamveren açısından önemli fırsatlar sunmaktadır. Literatür taraması yapılarak hazırlanan " Avantajları ve Dezavantajları ile Dijital Dergicilik " isimli bu çalışmada geleneksel dergicilikten dejital dergiciliğe dergiciliğin dönüşümü, dijital dergiciliğin avantajları ve dezavantajları ele alınmıştır. Makale, dijital dergicilikle ilgili ulusal çalışmaların son derece yetersiz olmasından dolayı dijital dergicilik konusunda yapılacak geniş kapsamlı çalışmalara katkı sunmak amacıyla hazırlanmıştır. Anahtar kelimeler: dergi yayıncılığı, dijitalleşme, dijital dergicilik, dijital ortamlar, yayıncılık ABSTRACT With digitalizing of media and increasing of new media environment, it has been fast changes and transformation in the process of publishing process and their content. This transformation arises especially in magazines. Digitalizing of magazines and their publishment in the digital world totally occur faster when compared with newspaper. Because of " Natural Born Digital Generation's integration with the internet and mobile devices, their adaptation to digital contents haven't been difficult for them. The Natural Born Digital Generations living with mobile devices at all the time have been following digital content in the digital environment more than traditional media content. Digital magazines are at the forefront of these contents. Digital magazines easily accessible from mobile phones, iPads, tablets and social networks provide important opportunities for publishers, performers and advertisers. It is studied the transformation of digital magazine from traditional magazine and the advantages and disadvantages of digital magazine in this study. Because of insufficiency of national studies in respect of digital magazine this article is studied in order to contribute wide ranging studies in this area. GİRİŞ İletişim teknolojilerindeki gelişim medya ürünlerini geliştirmekle kalmamış aynı zamanda bu ürünleri de dönüştürmüştür. İletişim ortamlarının gelişen teknolojiyle birlikte genişlemesi mecraların çoğalmasını sağlarken medya ürünlerinin ulaşılabilirliğinin artmasına da olumlu katkı yapmıştır. Özellikle internet ağının genişlemesi internet kafelerin yerini her evde internet bağlantılı bilgisayarlara bırakması iletişimde devrim sayılabilecek önemli gelişmelerdir. İletişim teknolojilerindeki bu hızlı