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运动画刊(Sports Illustrated)是由媒体巨擘时代华纳所拥有的美国体育周刊。拥有超过300万的订户,每个礼拜2300万成人的阅读量,在美国包括超过1300万、19%的男性。是第一个获得美国国家杂志奖的卓越表现奖两次的杂志中,超过百万流通量的。
它的泳装特刊(Swimsuit Issue),从1964年发行以来,已变成年度的活动,发行自己的电视节目、影视产品以及月历。
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另外两个名称也是运动画刊(Sports Illustrated)的杂志在1930、1940年代创刊,不过不久后迅速失败。事实上,美国当时并没有一本全国性的体育杂志,时代杂志的创办人亨利‧鲁斯(Henry Luce)注意到这个问题,并且考虑填补这个空白。在当时,许多人认为体育是在严肃的新闻事业之下,并且不认为光是体育的内容可以填满一本杂志,特别是在冬天的时候。鲁斯收到许多意见,其中包括生活杂志(Life Magazine)的厄尔斯特‧海夫曼(Ernest Havemann,),都尝试阻止这个计划,但不是运动迷的鲁斯却在这个时间点作了正确的决定。
在想要花20万美元买下「运动」做为杂志名称的行动失败后,他们仅用1万美元买下「运动画刊」(Sporst Illustrated原意为运动议题)替代。杂志的目标是"能成为那本运动杂志,而不只是一本运动杂志。"("Not A sports magazine, but THE sports magazine.")
两本同样名为运动画刊在1930年代及1940年代创刊,不过它们很快完结。事实上,当时并没有全国性的综合体育杂志 with a national following when TIME patriarch Henry Luce began considering whether his company should attempt to fill the gap. At the time, many believed sports was beneath the attention of serious journalism and didn't think sports news could fill a weekly magazine, 尤其在冬季。A number of advisers to Luce, including Life Magazine's Ernest Havemann, tried to kill the idea, but Luce, who was not a sports fan, decided the time was right.[1]
After unsuccessfully offering $200,000 to buy the name Sport for the new magazine, they acquired the rights to the name 「运动画刊」 instead for just $10,000. The goal of the new magazine was to be "not A sports magazine, but THE sports magazine.1954年8月16日刊行,it was not profitable and not particularly well run at first, but Luce's timing could not have been better. The popularity of spectator sports in the United States was about to explode, and that popularity came to be driven largely by three things:
The early issues of the magazine seemed caught between two opposing views of its audience. Much of the subject matter was directed at upper class activities (yachting, polo, and even safaris), but upscale would-be advertisers were unconvinced that sports fans were a significant part of their market.[2]
From the start, however, Sports Illustrated did introduce a number of innovations that are generally taken for granted today:
1956年Luce询问时代集团senior European Correspondent André Laguerre to come to New York and help define the magazine's character. Many of the staff had serious doubts that the English-born Frenchman could possibly know anything about American sports, but Laguerre won them over, and during his term as Managing Editor (1960 - 1974), SI became a model for other middle-class American magazines. Its writers developed their own characteristic style by daring to tell people what was important. Many would say that the magazine legitimized sports -- and being a sports fan -- for a huge segment of the American population. The steady creation of landmark stories (e.g., "The Black Athlete - A Shameful Story" by Jack Olsen and "Paper Lion" by George Plimpton) showed that sports fans could be readers, and a generation of sportswriters patterned their own writing after what they read in SI.[3]
杂志的摄影师also made their mark with innovations like putting cameras in the goal at a hockey game and behind a glass backboard at a 棒球比赛。 In 1965, offset printing began to allow the color pages of the magazine to be printed overnight, not only producing crisper and brighter images, but also finally enabling the editors to merge the best color with the latest news. By 1967, the magazine was printing 200 pages of "fast color" a year; in 1983, SI成为全美首本全彩印刷的杂志。 An intense rivalry developed between photographers, particularly Walter Iooss and Neil Leifer, to get a decisive cover shot that would be on newsstands and in mailboxes only a few days later.[4]
1970年代后期及1980年代早期,during Gil Rogin's term as Managing Editor, the feature stories of Frank Deford became the magazine's anchor. "Bonus pieces" on Pete Rozelle, Bear Bryant, Howard Cosell and others became some of the most quoted sources about these figures, and Deford established a reputation as one of the best writers of the time.[5]
After the death of Henry Luce in 1967, the creative freedom that the staff had enjoyed seemed to diminish. By the 1980s and 1990年代, the magazine had become more profitable than ever, but many also believed it had become more predictable. Mark Mulvoy was the first top editor whose background contained nothing but sports; he had grown up as one of the magazine's readers, but he had no interest in fiction, movies, hobbies or history. Mulvoy's top writer Rick Reilly had also been raised on SI and followed in the footsteps of many of the great writers that he grew up admiring, but many felt that the magazine as a whole came to reflect Mulvoy's complete lack of sophistication. Mulvoy also hired the current creative director Steven Hoffman. Critics said that it rarely broke (or even featured) stories on the major controversies in sports (drugs, violence, commercialism) any more, and that it focused on major sports and celebrities to the exclusion of other topics. The proliferation of "commemorative issues" and crass subscription incentives seemed to some like an exchange of journalistic integrity for commercial opportunism. More importantly, perhaps, many feel that 24-hour-a-day cable sports television networks and sports news web sites have forever diminished the role a weekly publication can play in today's world, and that it is unlikely any magazine will ever again achieve the level of prominence that SI once had.[6]
自1954年创刊以来,运动画刊杂志颁发年度最佳运动员奖给予"the athlete or team whose performance that year most embodies the spirit of sportsmanship and achievement." Roger Bannister won the first ever Sportsman of the year award thanks to his record breaking time of 3:59.4 for a mile (the first ever time a mile had been run under four minutes)。
While the list of "examples" of the jinx is extensive, an individual record 49 cover appearances by Michael Jordan, team record 61 covers by the New York Yankees, and school record of 105 covers by the UCLA Bruins [1] have not hindered their success.
2002年其中一期,封面标题写关于它们带来的诅咒,封面是一只黑猫。圣路易斯公羊四分卫Kurt Warner想与黑猫一起登上封面,但遭杂志拒绝。结果公羊队连胜两场,成为国联会的冠军。
运动画刊 has helped launched a number of related publishing ventures, including:
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