The document analyzes the front cover of the Fangoria film magazine. It summarizes that the cover adapts common magazine conventions to appeal to die-hard horror fans. It uses an amateurish design with varied fonts, colors and imagery to feel homemade. The masthead, feature images and slogan all emphasize the magazine's focus on horror films in unconventional ways compared to other magazines. The cover aims to immerse viewers in the dark world of horror and connect with fans through its distinctive aesthetic and graphic content tailored to its selective audience.

2. Film magazine front cover
analysis 2
This film magazine features many of the common conventions of front covers, but due to its
more selective target audience, adapts and alters them in order to maintain the brand identity.
Each of the recurring conventions seen here has been purposefully modified in order to give an
‘amateurish’, homemade feel, specifically favoured by the die-hard fans of the genre that are
likely to buy it. The masthead is placed typically at the top of the image here, yet unlike other
notable mastheads, it protrudes in front of the image instead of being placed behind the central
characters head. This is arguably because Fangoria is not a well-known brand, and it is
therefore more important to ensure that the masthead is as prominent and bold as possible.
Moreover, this is also achieved through the contrasting colours used, and the fact that the
masthead is placed within a frame, demanding extra attention from the viewer. It also
symbolises the singularity of Fangoria – the frame seems to suggest that it is separate from any
other magazine, and it is this unique nature and aesthetic that will encourage fans of horror to
buy it. The inclusion of blue, heightened by a white outline, in the word ‘Fangoria’, is
implicative of an otherworldly presence and can easily be associated with the supernatural
subgenre that this magazine will undoubtedly cover. The ‘Fang’ in ‘Fangoria’ emphasises this,
as it conjures associations with monsters and vampires, creatures found singularly within
horror films. However, the white contrasting with the excessive amounts of black suggests the
corruption of innocence, which further signifies the genre as well as boosting the boldness of
the masthead in general.
Proceeding on from this, the three FAPs (feature article photographs), although conventionally
placed, differ significantly from other magazines for a variety of reasons. Firstly, and most
noticeably, the actual content of the images are much more graphic and violent than images
used in magazines such as Empire and Total Film. Again, this is due to the selective audience
that this magazine is directed towards, and the fact that Fangoria cannot be purchased from
most retail stores, allowing for more disturbing content to be shown. The images themselves
are framed with a crumbling yellow hue, and are placed alongside a series of circles that give
the impression of the side of a film reel, and this runs down the whole left of the magazine. This
further heightens the homemade feel of the front cover, and almost suggests an enhanced focus
on films that may be lesser known than others – and therefore of more interest to die-hard fans
of the horror genre. This is because film reels are rarely used anymore, except by selective
minority of moviegoers. Indeed, the fact that a film reel is uses suggests a focus on the
traditional, old-fashioned aspects of cinema, and a deviation from the advertisement-laden,
commercialised magazines that are typically found on the shelves. Also, the yellow borders of
the images enforce this old-fashioned idea by appearing to be rotting, or burnt onto the cover,
to further inaugurate the audience into the vile imagery of the horror genre. The barcode is
also unconventional in comparison with other magazines, as it is placed rather prominently on
the bottom left hand third, as opposed to the bottom right hand third. Ultimately, this allows
for greater emphasis to be placed on the dominant cover image, allowing viewers to fully
immerse themselves in the darkness of the image and feel a greater sense of connection to the
content of the magazine. It promotes the cover image even more, giving more appeal to the film
itself, and the added space makes the front cover look even darker and even more reflective of
the genre it represents.

3. The use of a slogan above the masthead anchors the title to the genre even further as it
effectively summarises the magazine with three short, snappy statements. Alliteration is
used to interlink each of the statements and ensure that the target audience are more
likely to remember them for what they are – a juxtaposition of horrific imagery and
enthusiastic humour. It is this juxtaposition that gives potential readers an insight into the
mode of address of the magazine – and true fans of the horror genre are unlikely to be
disappointed based upon these statements. This is because of evident enthusiasm of the
editors, which the fans will easily be able to relate to and recognise. Also, this notably
differs from the slogans of magazines such as Total Film, which tend to promote the brand
of the magazine itself, an arguably more boastful and generic approach to promoting the
magazine itself. Although conventionally placed, the slogan of Fangoria instead opts to
focus on content, which simultaneously highlights how it is less established than these well-known
magazines and also how it wants to focus more on the genre than the magazine
itself. This is something that horror fans will appreciate, thus increasing their likelihood of
purchasing the magazine and subscribing. Furthermore, the use of slang words such as
‘trash’ suggest an informal approach to the genre, implying that there will be a variety of
‘in-jokes’ and ineffectual humour throughout that will resonate with the way that horror
movie enthusiasts communicate with each other. Essentially, this puts forward the idea
that Fangoria would be worthy companion and source of information in regards to the
horror genre. Despite their lesser-known status, however, the editors of Fangoria do not
deny their magazines important within the horror genre, and opt for a second,
significantly smaller slogan beneath the masthead, calling themselves ‘the first in fright
since 1979’. Again, alliteration is used to the same effect here, and the statement itself
consolidates the genre that the magazine embellishes. It will also add extra appeal to the
typical horror fan, as they are likely to know that this magazine was established in what is
referred to as ‘the golden age of horror’, heightening its credibility and endurance
throughout time.
Proceeding on from this, the text used in correspondence with the FAPs and the cover
image mainly relates the names of the films being advertised. There is a notable lack of
emphasis on trying to ‘sell’ the film through sell-lines, a stray from the conventions of a
typical movie magazine. It can therefore be said that the editors are fully aware of their
selective audience, presuming the audience will already know the films by name and will
be aware of their basic plot/direction. Again, this emphasises the fact that this magazine is
for die-hard fans of the genre only. However, a strap line is used in conjunction with the
film title of the main image, to further generate intrigue for the film itself. ‘Evil by design’
cleverly insinuates the unique narrative of ‘The Cabin in the Woods’, which fans of the
magazine may already know about. This will likely draw them in to the narrative even
further, which the suggestion that the ‘evil’ within the film has been manufactured or
prompted in some way, suggesting an ulterior motive to horror. Also, the strap line
cleverly links in with the design of the front cover itself, as it is purposefully made to look
‘evil’ to consolidate its emphasis on the horror genre. Although this strap line is used, it is
unconventionally placed above the film title (as opposed to below it) and appears to be
arching slightly. Ultimately, this implies that the ‘design’ of the evil is literally weighing
down upon ‘The Cabin in the Woods’, and will directly affect those characte rs who decide
to stay within this cabin. It also adds further individuality to the style and aesthetic of the
magazine.

4. A variety of different fonts and colours are used to create a hectic, amateurish aesthetic on
this front cover. Unconventionally, the fonts used vary greatly across the front cover and
therefore create the impression that there are numerous influences and different styles of
writing inspiring and occurring within the magazine. Evidently, the extended use of colours
here further boosts the boldness and singularity of the front cover, and will likely be the initial
feature that draws potential readers to find out more about the magazine. Interestingly, all
manner of colours are utilised to their own individual effect, and all are generally
representative of different periods of time within various genres of horror advertising. For
example, the stark use of yellow in the uppermost slogan is reminiscent of the film posters of
1930s horrors such as Dracula, whereas by contrast, the vibrant white used for the font of
‘The Cabin in the Woods’ is more emulative of the more popular supernatural horrors of this
decade. This implies that Fangoria will cover all genres of horror through the ages, and the
fact that this works in conjunction with the old-fashioned aesthetics of a film reel consolidates
how the magazine may be slightly more favoured towards the horrors of the past despite
covering all ages. Subsequently, the fonts also represent this idea, as the more slasher-esque,
spattered font of the main strap line calls for associations with slasher films of the 1980s,
whereas the mastheads angled, sans serif, diagonalised font is reminiscent of the colourful,
monster-laden horrors of the 1950s. Generally, this consolidates the magazine as the ultimate
love letter to horror films, and gives the impression that it is written by genuine die -hard fans,
for genuine die-hard fans.
Moreover, the images used throughout the magazine front cover perfectly symbolise and
capture the essence of the horror genre. For the cover image, a medium close-up is used to
depict a masked figure wearing a suit, directly gazing at the viewer. Generally, this type of
shot (and placement of it on the front cover) is conventional for magazines, and shows that
despite its fanmade style, Fangoria still recognises and appreciates the features that compel
audiences to buy magazines. The use of a plain mask here is perfectly symbolic of the horror
genre, a typical convention that would be expected to appear on a horror magazine front
cover. As the figure is immersed in darkness and wearing dark clothing, the target audience
will immediately recognise him/her as an evil character, and may also be able to discern how
the absence of any other notable background elements generates a sense of mystery about the
film - in-keeping with the intrigue set up by the strap line and narrative of the film. Although
masks are usually associated with slasher films, the suit being worn is suggestive of a higher
level of sophistication, placing this film above the hordes of its peers by suggestion of some
sort of intellectual motive involved. This works concurrently with the ‘evil by design’ strap
line. Moreover, the white of the mask itself emphasises the neutrality of the facial features,
and the fact that it is staring directly at the reader is almost urging them to buy the magazine
– or else. The other images used within the front cover fully embrace the weirdness, terror,
and fun of horror, and are clearly meant to be viewed only by the selective target audience.
This differs substantially from other magazines that tend to display FAPs that try to
summarise the film/promote it to its fullest extent, whereas with Fangoria, the editors are
clearly trying to appeal to the shock factor of their fans – which, unlike wider target
audiences, will be a part of themselves they actively choose to engage in. Clearly, this will
further entice them to buy the magazine. These images also differ in their content, which
would be too graphic to show in a mass-distributed magazine such as Empire. Blood spatters
used throughout fully consolidate the genre and emphasise how the magazine is fan-made,
suggesting that the editors have bled over the creation of this front cover.