Books: '1940s magazines'

1

Bryant, Michele Wesen. WWD illustrated: 1960s-1990s. New York: Fairchild Publications, Inc., 2004.

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2

Walker, Nancy A., ed. Women’s Magazines, 1940–1960. New York: Palgrave Macmillan US, 1998. http://dx.doi.org/10.1007/978-1-137-05068-7.

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The great monster magazines: A critical study of the black and white publications of the 1950s, 1960s and 1970s. Jefferson, N.C: McFarland, 2008.

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4

South, David. Ger Magazine - Youth Issue: Online magazine about Mongolia's transition in the 1990s. Ulaanbaatar, Mongolia: UNDP Mongolia Communications Office, 1998.

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5

Gallery, Durban Art, ed. The Indian in Drum magazine in the 1950s. Woodstock, Cape Town: Bell-Roberts Publishing, 2008.

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6

The 1950s kitchen. Botley, Oxford: Shire Publications, 2011.

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7

All man!: Hemingway, 1950s men's magazines, and the masculine persona. Kent, Ohio: Kent State University Press, 2009.

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8

South, David. Ger Magazine - Modern Life Issue: An online magazine about Mongolia's transition in the 1990s. Ulaanbaatar, Mongolia: UNDP Mongolia Communications Office, 1999.

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9

Clear, Caitríona. Women's voices in Ireland: Women's magazines in the 1950s and 60s. London: Bloomsbury Academic, an imprint of Bloomsbury Publishing Plc, 2015.

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10

Gough-Yates, Anna Harriet. 'Seriously glamorous'?: The production of women's magazines and readerships in 1980s Britain. Birmingham: University of Birmingham, 1999.

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11

Packer, William. The Art of Vogue covers: 1909-1940. Twickenham: Hamlyn, 1987.

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12

Mappin, John. The Goblin: A brief history of Canada's humour magazine of the 1920s. Montreal: Printed for John N. Mappin by the Porcupine's Quill, Erin, Ont., 1988.

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13

Greenfield, Jill. Women's magazines and the commercial orchestration of femininity in the 1930s: Evidence from'Women's own'. Portsmouth: University of Portsmouth, Dept. of Economics, 1996.

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14

The adman in the parlor: Magazines and the gendering of consumer culture, 1880s to 1910s. New York: Oxford University Press, 1996.

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15

Jan, Storm van Leeuwen, and Meijer Rob 1939-, eds. Omslag in beeld: Boeken, bladmuziek, brochures, toegepaste grafische kunst 1890-1940 : collectie, Rob Aardse. Assen: Drents Museum, 2008.

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16

Favaro, Alice. Después de la caída del ‘ángel’. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-416-5.

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Ángel Bonomini was born in Buenos Aires in 1929 where he lived until his death at the age of sixty-four in 1994. He worked for various newspapers and magazines as an art critic and translator, but always maintaining his literary activity. He inherited the tradition of the Argentine fantastic and was a prolific writer: his production includes essays, poems and fantastic tales.Although he lived in a period of great cultural splendor and his literary talent was recognised by authors such as Borges and Bioy Casares, he fell into an unexplained oblivion, disappearing quite early from the contemporary intellectual environment. His first poems, which date back to the 1950s, were published in Sur magazine and some of his tales were included in well-known anthologies of fantastic literature.Among his collections of poems there are: Primera enunciación (1947), Argumento del enamorado. Baladas con Ángel (1952) written with María Elena Walsh, Torres para el silencio (1982) and Poética (1994). In 1972 he achieved great success with the publication of his first collection of fantastic tales, Los novicios de Lerna, followed by the publication of other books: Libro de los casos (1975), Los lentos elefantes de Milán (1978), Cuentos de amor (1982), Historias secretas (1985) and Más allá del puente (1996), posthumously published.A particular use of the fantastic characterises his work and distinguishes him from his contemporary authors. In his tales there is a continuous contrast between metaphysics and existentialism; in this way, he makes a deep investigation of the reality and, at the same time, he tries to go beyond it.This volume aims to analyse some emblematic tales by Bonomini in which it is possible to find the main topoi of Argentine fantastic and to understand why the author’s literary work is worth studying.

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17

Petite histoire du magazine Vu (1928-1940): Entre photographie d'information et photographie d'art. Bruxelles: PIE Peter Lang, 2010.

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18

The art of tennis, 1874-1940: Timeless, enchanting illustrations and narrative of tennis' formative years. Tiburon, Calif: Wood River Pub., 1990.

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19

Ziapour, Sara. The relations between changes in men's magazines since the early 1980s and changes in male gender roles. London: LCP, 2002.

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20

Oriard, Michael. Football Town under Friday Night Lights. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037610.003.0005.

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This chapter traces the history of two competing views about the role of high school football in American communities: the “Football Town” and the “Friday Night Lights syndrome.” “Friday Night Lights” was named after H. G. Bissinger's 1990 book Friday Night Lights, a journalistic account of football at Permian High School in Odessa, Texas. “Football Town” originated from a series of portraits in popular magazines in the 1940s and 1950s. The chapter first provides a background on interscholastic football before discussing how the high school football game's place in the local community began to take on larger meanings when the national media began paying attention to it in the late 1930s.

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21

Gautreau, Justin. The Last Word. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190944551.001.0001.

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The Last Word argues that the Hollywood novel opened up space for cultural critique of the film industry at a time when the industry lacked the capacity to critique itself. While the young studio system worked tirelessly to burnish its public image in the wake of celebrity scandal, several industry insiders wrote fiction to fill in what newspapers and fan magazines left out. Throughout the 1920s and 1930s, these novels aimed to expose the invisible machinery of classical Hollywood cinema, including not only the evolving artifice of the screen but also the promotional discourse that complemented it. As likeminded filmmakers in the 1940s and 1950s gradually brought the dark side of the industry to the screen, however, the Hollywood novel found itself struggling to live up to its original promise of delivering the unfilmable. By the 1960s, desperate to remain relevant, the genre had devolved into little more than erotic fantasy of movie stars behind closed doors, perhaps the only thing the public couldn’t already find elsewhere. Still, given their unique ability to speak beyond the institutional restraints of their time, these earlier works offer a window into the industry’s dynamic creation and re-creation of itself in the public imagination.

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22

Mukherjee, Debashree. Scandalous Evidence. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0003.

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This chapter examines the status and work of women in the early Bombay film industry (1930s–1940s), using the historiographic productivity of actresses embroiled in scandals as an entry point. It reconstructs scandal narratives in a jigsaw fashion using a variety of sources, including film magazines, biographies, creative nonfiction writing, fan letters, and interviews conducted in Bombay from 2008 to 2013. The chapter considers how the film historian might use “illegitimate” sources of history to approach lived histories of Indian cinema's work culture. It approaches scandal as a discursive form that proliferates textually and orally rather than as a temporally contained mediatized event. Taking two Bombay actresses of the 1930s and 1940s, Devika Rani and Naseem Banu, as case studies, and moving outward from the initial scandal narratives, the chapter re-imagines the possibilities and pressures that stars like them encountered in the film studio as well as in the public eye. It argues that the early film actress should be seen as a manifestation of, and model for, the urban working woman in 1930s and 1940s Bombay.

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23

Newcomb, John Timberman. Young, Blithe, and Whimsical. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036798.003.0004.

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This chapter challenges the conceptual model dominating histories of modern American poetry from the 1940s, in which political and aesthetic radicalism are seen as mutually exclusive responses to twentieth-century modernity, by analyzing the avant-gardism of The Masses. It considers how The Masses, together with several other little magazines, enriched the New Verse movement by joining and competing with Poetry: A Magazine of Verse as vibrant venues of contemporary American poetry. It explains how The Masses, by putting ideology above artistry, placed itself beyond the pale of true modernism. It argues that the verse published in The Masses was more than just belated sentimentalizing or Marxist sermonizing with no significant role in the emergence of modern poetry. On the contrary, the magazine had a substantial institutional and aesthetic impact upon the New Poetry. The chapter also contends that The Masses's eclectic and iconoclastic poetics of modernity was strongly aligned with the experimental spirit later valorized by historians as modernist.

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24

Schultz, Jaime. Commercial Tampons and the Sportswoman, 1936–52. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038167.003.0003.

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This chapter focuses on the commercial tampon, first available in the United States in 1936. The introduction of the mass-produced tampon marked a significant turning point in women's lives. It spoke to desires for physical freedom, changes in dress, and evolving viewpoints with regard to hygiene and the corporeal. Advertisers' use of the sportswoman in campaigns of the 1930s and 1940s was an important strategy for the product's viability. Inside the pages of popular magazines, the tampon-advocating athlete at once represented modernity, encouraged physical activity, and contributed to a “culture of concealment” that perpetuated menstrual shame and stressed the need for secrecy and discretion.

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25

Cornell, Andrew. New Wind. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041051.003.0007.

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Something of a revolution in anarchist thought occurred during the 1940s and early 1950s, much of it centered in New York City. World War II divided the small contingent of U.S. anarchists active during the Depression years, as many movement veterans reluctantly endorsed the Allies as the only viable means of defeating fascism. However, a new generation of activists -- many of them recent college graduates -- established journals and organizations that rejected participation in the war, often on pacifist grounds, and that began to reevaluate central tenets of anarchist theory. This chapter explores the milieu that developed in New York City, Woodstock, NY, and rural New Jersey at mid-century, focusing on three "little magazines" that supported and influenced one another: Politics, Why?, and Retort. Although anarchism was at a numerical nadir during these years, a tight-knit community of artists, theorists, and radical pacifists developed ideas, tactics, and aesthetics that reshaped anarchism so fundamentally that they remain prominent today in the Occupy Wall Street demonstrations.

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26

Eller, Jonathan R. Finding His Own Way. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036293.003.0031.

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This chapter examines Ray Bradbury's determined stance to go his own way and write stories to please himself despite the reluctance of slick magazines to publish them. Bradbury's early postwar success in the slicks came with short stories that were basically or with a few dark fantasies that the slicks were willing—very occasionally—to take a chance on. For example, Rita Smith at Mademoiselle had taken three Bradbury stories, but began to draw the line at stories about Mars. Throughout the late 1940s Bradbury's science fiction and dark fantasies were rejected by major market editors, deeming them “wrong” or “not quite right” for their readers. This chapter considers Bradbury's insistence on writing his own kind of story instead of slanting for the slicks and how his change in creative focus enabled him to sell many of his Martian stories, along with many of the other darker science fiction tales, to pulp magazines with little or no need for revision. It also discusses the impasse Bradbury had reached with his attempts at long fiction.

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27

Doering, James M. The War Years and a Shift to a New Era. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037412.003.0009.

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This chapter demonstrates how Judson's management empire began to plateau in the 1940s. The Depression had rattled music's funding structures. Technology had spawned greater competition for live musical experiences. Jazz had supplanted classical music on the pages of many newspapers and trade magazines. But particularly relevant for Judson was an emerging concern about the connection between music and big business. The Federal Communications Commission (FCC) first raised this issue in 1938, when it launched an investigation into the chain-broadcasting practices of the NBC, CBS, and mutual radio networks. The commission also became concerned about the possibility of monopolistic behavior, specifically in the practice of networks representing artists and also buying artists for their radio programs.

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28

Bryant, Michele Wesen. Wwd Illustrated: 1960S-1990s. Fairchild Books & Visuals, 2003.

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29

Clay, Catherine. Time and Tide. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474418188.001.0001.

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This book reconstructs the first two decades of the feminist magazine Time and Tide, founded in 1920 by Lady Margaret Rhondda and other women who had been involved in the women’s suffrage movement. Unique in establishing itself as the only female-run general-audience intellectual weekly in what press historians describe as the ‘golden age’ of the weekly review, Time and Tide both challenged persistent prejudices against women’s participation in public life and played an instrumental role in redefining women’s gender roles and identities in the interwar period. Drawing on extensive new archival research the book recovers the contributions to this magazine of both well- and lesser-known British women writers, editors, critics and journalists and explores a cultural dialogue about literature, politics and the arts that took place beyond the parameters of modernist ‘little magazines’. Offering insights into the history and workings of this periodical that no one has dealt with to date, the book makes a major contribution to the history of women’s writing and feminism in Britain between the two world wars. The book is organised chronologically in three parts, tracing Time and Tide’s evolution from its ‘Early Years’ as an overtly feminist magazine (1920-28), to its ‘Expansion’ and rebranding in the late 1920s as a more general-audience weekly review (1928-35), and, finally, to its ‘Reorientation’ in the mid-1930s in response to a world in crisis (1935-39).

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30

Carter, Fan. Teen Magazines, Fashion, and Femininity: Honey Magazine and Consumer Culture in 1960s Britain. Taylor & Francis Group, 2019.

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31

Jones, Rebecca. Green Harvest. CSIRO Publishing, 2010. http://dx.doi.org/10.1071/9780643101074.

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Green Harvest explores the ideas and practices that have shaped organic farming and gardening in Australia from the interwar years to the present day. It reveals that Australian organic farming and gardening societies were amongst the first in the world, being active as early as the 1940s. In what way does human health depend upon the natural environment? Green Harvest traces this idea through four themes of Australian organic farming and gardening – soil, chemical free, ecological well-being and back to the land – each illustrated with a case study profiling an Australian organic farmer or gardener. Personalities in Australian organic gardening, such as Jackie French and Peter Bennett, talk about organic growing. The book also features extracts from early organic magazines and interviews with current organic growers, including banana and macadamia farmers, managers of outback sheep stations, dairy farmers and self-sufficiency gardeners. All of these tell the story of Australian organic farming and gardening: past, present and future.

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32

Smith, Jad. Hiatus and Search for a New Style. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040634.003.0007.

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During the 1960s, Bester drifted away from SF for a second time and largely gave up fiction writing to work as an editor at Holiday magazine. When he returned to the field in the early 1970s, he found his reputation at an all-time high, in part because writers associated with the New Wave—Michael Moorcock, Samuel R. Delany, and Harlan Ellison, among them—had praised his work. This chapter looks at the ups and downs of Bester’s late career, giving particular attention to “The Four Hour Fugue,” Golem100, and the story collections The Light Fantastic and Star Light, Star Bright. It also discusses renewed interest in Bester’s fiction during the 1980s and his influence on cyberpunk.

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33

Withers, Jeremy. Futuristic Cars and Space Bicycles. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621754.001.0001.

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Futuristic Cars and Space Bicycles is the first book to examine the history of representations of the automobile and of marginalized transportation technologies such as the bicycle throughout the history of American science fiction. With chapters ranging from ones on the early science fiction of the pulp magazine era of the 1920s and 1930s, on up to chapters on the postcyberpunk of the 1990s and more recent science fiction media of the 2000s such as web television, zines, and comics, this book argues that science fiction by and large perceives the car as anything but a marvelous invention of modernity. Rather, the genre often scorns and ridicules the automobile and instead frequently promotes more sustainable, more benign, more restrained technologies of movement such as the bicycle.

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34

West, E. James. Ebony Magazine and Lerone Bennett Jr. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043116.001.0001.

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This study reveals the previously hidden impact of Ebony magazine as a major producer and disseminator of popular black history during the second half of the twentieth century, stretching from its formation in 1945 to its role in the movement to establish a national holiday for Dr. Martin Luther King Jr. during the 1980s. Benefitting from unprecedented access to new archival materials at Chicago State and Emory University, it focuses on the impact of Lerone Bennett, Jr., the magazine’s in-house historian and senior editor. More broadly, West highlights the value placed upon Ebony’s role as a “history book” by its contributors and readers. Using Ebony as a window into the trajectory of the post-war “modern black history revival”, this study offers a bold reinterpretation of the magazine’s place within modern American cultural and intellectual history and highlights its role as a critical tool for black history empowerment and education on a local, national and international scale.

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35

Wald, Alan M. The Cul-de-Sac of Social Democracy. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469635941.003.0010.

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A history of Irving Howe and Dissent magazine is used to examine the strengths and weaknesses of the social democratic alternative that became the Left wing of the New York intellectuals during the 1950s. This is followed by an examination of the life and work of Harvey Swados, which also express the ambiguities that would render this tradition problematic during the era of new radicalization in the 1960s.

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36

Hanson, Dian. History of Men's Magazines: 1970s at the Newsstand (History of Mens Magazines). Taschen, 2005.

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37

Rod & Custom Magazine in the 1950s. Motorbooks, 2004.

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38

The National Geographic Magazine : The 1910s. National Geogpraphic Magazine, 1995.

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39

Frizot, Michel. Vu, le magazine photographique, 1928-1940. Martiniï¿½re Beaux-livres(De La), 2009.

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40

Frizot, Michel. Vu, le magazine photographique, 1928-1940. Martiniï¿½re Beaux-livres(De La), 2009.

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41

Europe 1880 - 1940. Oxford University Press, 2013.

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42

Feinsod, Harris. The New Inter-American Poetry. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682002.003.0005.

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This chapter shows how revolutionary enthusiasms, experimental magazines, and translation fueled inter-American relations in the 1960s on the countercultural left. Previous critics note the Boom, but most US accounts of the period’s poetry center on the intra-national polarities (“margin versus mainstream” or “raw versus cooked”) inflamed by Donald Allen’s The New American Poetry (1960). The chapter instead describes a larger formation called “the new inter-American poetry,” recovering dialogues best emblematized by the hemispheric little magazine El Corno Emplumado, and the reciprocations engendered between the works of rebellious Beats and revolutionary Cuban barbudos, Paul Blackburn and Julio Cortázar, Clayton Eshleman and Javier Heraud, Pablo Neruda among his English translators, and others. These exchanges were not without their blind spots, and the chapter concludes by comparing the communities imagined by Frank O’Hara’s Lunch Poems (1964) to poems by contemporaneous visitors to Manhattan such as Mario Benedetti (Uruguay) and Alcides Iznaga (Cuba).

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43

Siff, Stephen. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039195.003.0001.

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This introductory chapter describes the media hype over LSD and related psychedelic drugs: a grand arrival to a 1950s cultural landscape that had been deliberately scrubbed of alluring descriptions of drug use; the the picturesque drug trips related in mainstream magazines and newspapers; sensational television specials and radio discussions; the contradictory reactions in mass media as the drugs accrued both casualties and countercultural cachet; and, finally, the loss of interest in psychedelic drugs by mainstream media outlets at the end of the 1960s. Ultimately, the book's goal is to not build a general theory but to shed light on a particular case through close examination of the media content and circumstances surrounding it.

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44

Lornell, Kip. Capital Bluegrass. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199863112.001.0001.

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This book documents the history and development of bluegrass music in and around Washington, DC. It begins with the pre-bluegrass period of country music and ends with a description of the local scene near the end of the 2010s. Capital Bluegrass details the period when this genre became recognized locally as a separate genre within country music, which occurred shortly after the Country Gentlemen formed in 1957. This music gained a wider audience during the 1960s, when WAMU-FM began broadcasting this music and the nationally recognized magazine Bluegrass Unlimited was launched in suburban Maryland. Bluegrass flourished during the 1980s with dozens of local venues offering live bluegrass weekly and the public radio station featuring forty hours a week of bluegrass programming. Although it remains a notable genre in the Washington, DC, metropolitan area, by the 1990s bluegrass began its slow decline in popularity. By 2019, the local bluegrass community remains stable, though graying. Despite the creation of both bluegrasscountry.org and the DC Bluegrass Union, it is abundantly clear that general recognition and appreciation for bluegrass locally is well below the heights it reached some thirty-five years earlier.

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45

The Oxford Critical and Cultural History of Modernist Magazines : Volume III: Europe 1880 - 1940. Oxford University Press, 2017.

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46

Gardner, Calum. Poetry & Barthes. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941367.001.0001.

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This book is the first study of how the work of Roland Barthes, one of the most influential literary theorists of the twentieth century, came to be understood by poets working in English. Beginning with the work of the Scottish poet Veronica Forrest-Thomson in the 1970s, it traces Barthes through North American ‘Language writing’, the journals and little magazines of the period, 1980s writers responses to Barthes’ work on love, and finally writers who, for a variety of reasons, rejected Barthes’ theoretical interventions. In doing so, it offers a picture of how poets’ understanding of their own projects develops during this period as well as a unique perspective on Barthes and his reception, positive and negative, in English-language poetry communities.

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47

Hanson, Dian. History of Men's Magazines: The History of Men's Magazines : 1960s Under the Counter (Dian Hanson's: The History of Men's Magazines). Taschen, 2005.

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48

Page, Michael R. All the Lives He Led. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039652.003.0001.

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This book chronicles the work of Frederik Pohl, one of the leading figures in the field of science fiction (SF). Pohl's literary output spans nine decades from his poem “Elegy to a Dead Planet: Luna,” published in 1937, to his final book, All the Lives He Led, and The Way the Future Blogs. In between he wrote novels, short stories, story collections, and nonfiction books; edited anthologies and SF magazine issues; and wrote countless essays, editorials, and reviews. The book examines how Pohl's publishing activity and his work as a literary agent in the late 1940s and early 1950s shaped the SF field. It also considers the role played by Pohl in the development of SF as a more or less respectable area of academic study and in the creation and development of SF fandom.

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49

Adams, Jade Broughton. F. Scott Fitzgerald's Short Fiction. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474424684.001.0001.

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F. Scott Fitzgerald is remembered primarily as a novelist, but he wrote nearly two hundred short stories for popular magazines such as the widely-read Saturday Evening Post. These stories are vividly infused with the new popular culture of the 1910s, 1920s, and 1930s, from jazz and blues music to motion pictures and performing arts. This book demonstrates how popular culture had a deep impact on Fitzgerald’s work, not just in terms of evoking period detail, but by confirming Fitzgerald as an experimental writer whose popular short stories reflect the serious modernist concerns occupying writers such as Ernest Hemingway, James Joyce, Sherwood Anderson, Dorothy Parker, and Langston Hughes. This book explores how popular culture impacted on F. Scott Fitzgerald’s literary aesthetics on both thematic and formal levels, to a greater extent than previously recognised. Encompassing spheres of both American studies and cultural studies, this book offers a revisionist perspective on Fitzgerald’s short fiction of the interwar period, which is often overlooked in favour of the novels, especially The Great Gatsby. By exploring Fitzgerald’s fascination with leisure, specifically the intertwined cultural spheres of dance, music, theatre, and film, this book argues that he innovatively imported practices borrowed from other popular cultural media into his short stories, deploying disruptive techniques of ambiguity and parody that sit in tension with reader expectations of his lyrical style and the commercial publication contexts of his stories.

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50

Temimi, Sonia. From Intellectual to Professional: The Move from ‘Contributor’ to ‘Journalist’ at Ruz al-Yusuf in the 1920s and 1930s. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430616.003.0008.

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This chapter examines the prosopography of those who ‘made’ Ruz al-Yusuf, an Egyptian weekly magazine founded by the actress Fatima al-Yusuf in 1925. It addresses the presentation of an intellectual milieu through an examination of the authors who contributed to the title from 1925 to 1937, among them ‘Abbas Mahmud al-‘Aqqad, and Muhammad al-Tabi‘i, a gifted editor and journalist. A detailed study of their biographies and lived histories reveals generational similarities rooted in a particular political context and demonstrates how journalism was in the process of being defined by the aspirations, personal histories and aims of its practitioners. The second theme concerns the professionalisation of journalism and explores whether professional journalism necessarily means the development of a ‘news press’ following the Anglo-Saxon model or the French ‘opinion press’ model.

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Books on the topic '1940s magazines'

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