Generic Research: Websites research 1

Cross Media Convergence 

Cross media convergence between the magazine The Spectator's print and online website can be seen through a consistent colour palette, such as the red for the Masthead, cohesive typography style, which you can is consistent between print version and the online article and through similar themes or images, which in this example case are identical. They've decided to use the same image as they have on the print version to create brand identity and similarity for their cross media convergence.

                             Print version                                                      Online website

I purchased the 2nd of May 'The Spectator' print magazine and this is is what I found similar and intertextuality in reference to Boris Johnson and other famous politicians that are shown to be cutting their way through the thick dense Corona virus Jungle. There is so much that can be said regarding the colour palette, such as the green jungle and green slime on the trees is meant to replicate the effect that a virus has on our bodies but also the virus is presented red and green (which after some researching, is accurate). The snake on the far right is meant to represent the evil and bad that corona virus has brought, and shows the uncertainty Boris has in himself by his worried facial expression. The whole front cover is riddled with intertextuality but the main conclusion to be drawn is that although The Spectator is more conservative, it shows that even our Prime Minister is finding it difficult to navigate through this difficult uncertain times.

different between the print and online. The online article used the same front cover image which has a lot of

     In regard to cross media convergence however, it's interesting they used the same image for their podcasts, the intertextuality and messages encoded in it are so significant to The Spectator that they felt they had to put it on their online website also. 

Interesting Cross Media Convergence Features

I really liked their idea of using a Podcast instead of just publishing the full article. Moreover, in the right hand side of the printed article, there's a reference and link to the online pod cast (diagram 1). This is a clear example of cross media convergence as they are encouraging their readers to interact with all the platforms they have to offer.

Diagram 2

Diagram 1

Diagram 3

Diagram 4

I was not able to find any Easter Eggs but Diagram 2 and 3 are clear examples of  The Spectator using hyperlinks for digital convergence for their social media platforms and encouraging users to access all of the platforms they share content on and to help them stay up to date with what current technology has to offer and to connect with their target audience.

• Diagram 4 was interesting because next to their podcast they linked other apps you could access their content on, they're advertising other apps whilst advertising themselves.

At the bottom of every page of the printed magazine, there is a link to their website which is a reminder for the readers to head over to their website.

• Diagram 3 shows they have a comment section to allow their audience to interact with the content they release which shows they have a clear understanding (and matches my previous research on my target demographic) of what readers today want. Print magazine doesn't allow readers to interact with the content as much as online would. 

Brand identity

• Consistent formal mode of address in the print article and the online podcast and consistent content, such as right winged conservative and with a serious tone that is both informative and educational. Such as, the podcast was focused and centered around very serious topics concerning Covid-19 and politics, how other countries such as Russia is dealing with the lock down.
• Consistent aesthetics, as mentioned before cohesive typography style (sans serif) and colour palette, red for the masthead and other features such as small sub headings to make them more accentuated and arrows or symbols. 
• The same images are used for the print articles as well as the online articles and I looked over other articles online that were also in the print version and they had extra images included relevant to the topic but unlike the mini version of 'The Way Out' article underneath the podcast (in the example above) it was actually the full length detailed article. They both also had mini cartoons illustrating the content in the article but the online version had fewer however, the specific style of those cartoons are an important part to their brand identity.
• In the print version the articles were written in columns whereas the online version was in a single column, the interesting feature they included was you could adjust the size and spacing of the words to help people read it better and how they find it most comfortable which is a unique selling point that the online version provides which the print could not. However, that just comes along with access to technology and does not affect the overall brand identity.

Values, attitudes and beliefs

• The intertextuality references they use in their illustrations and images for the articles and online podcasts etc. anchor their right leaning conservative views but also liberal leanings.
• I think the previous bullet point is also reflected in the nature of how they write however, when I originally looked at the front cover illustrations for The Spectator I thought they would be more left leaning because the caricatures of famous conservative politicians appeared to be insulting. In actual fact, that is just their style and is meant to be humorous and probably attract readers to purchase the front covers.
• Fun Fact! Boris Johnson was once an editor of The Spectator

Applicable Theorists 

R Barthes Semiology - The Spectator encodes their images and illustrations with plenty of  intertextuality and anchors and encapsulates their ideologies and conventions of the magazine (i.e. their values, attitudes and beliefs)

Gauntlett Theory of Identity - The audience is not passive and will not read or interact with a piece of media they do not agree with. Only readers who are right leaning conservatives are likely to read The Spectator

Shirky End of Audience Theory - He also believes that audiences are no longer passive and feel a need to interact with the media and content being presented to them. This likely contributes greatly to the decrease of sales in print magazines as readers want a more interactive experience which they can receive online on websites for the magazines that they can leave comments on.