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Stern (magazine)

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Stern is a prominent German weekly magazine that focuses on current affairs. The name *Stern* translates to "Star" in English. It is published in Hamburg by Gruner + Jahr, which is a subsidiary of the larger Bertelsmann company. The magazine is characterized by its broadly left-liberal political stance. It serves as a significant voice in German media by covering a wide range of social and political topics. Throughout its history, it has sought to influence public discourse through deep reporting.

The magazine operates using a specific journalistic philosophy known as *Nützlicher Journalismus*, or "useful journalism." This approach aims to provide readers with sufficient background information on a topic. The goal is to allow readers to form their own independent judgments. Instead of using sensationalist headlines to dictate opinions, *Stern* focuses on long-form, investigative articles. This method distinguishes it from tabloid-style publications that prioritize quick, emotional reactions. The magazine also relies heavily on sophisticated graphic design and detailed illustrations to convey its stories.

Henri Nannen, the founder of the magazine, shaped its early identity and direction. He published the first 16-page issue on August 1, 1948, featuring actress Hildegard Knef on the cover.

Nannen obtained his publishing license from the British military government in Hannover. He later moved operations to Hamburg and founded the Gruner + Jahr publishing house in 1965. Under his leadership from 1948 to 1980, *Stern* became a massive success. At its peak, the magazine reached a circulation of between 1.5 and 1.8 million readers. This made it the largest magazine of its kind in all of Europe.

During the post-war era, *Stern* played a critical role in challenging the social and political status quo. It often questioned the political order established during the long chancellorship of Konrad Adenauer. In 1962, the magazine defended press freedom by denouncing government actions against its rivals. It also engaged with the student protest movements of the 1960s. For example, in 1967, writer Sebastian Haffner used his platform to criticize police responses to student demonstrations. *Stern* was also willing to break the silence regarding Germany's National Socialist past. This included supporting the policies of Chancellor Willi Brandt and his social-democratic views.

The magazine has also been a central figure in social debates regarding feminism. In 1971, *Stern* published a controversial issue where 374 women confessed to having abortions. This was a direct protest against Paragraph 218, the law that made abortion illegal in West Germany. While this was seen as a milestone for feminist movements, the magazine later faced criticism from feminists themselves. In 1978, Alice Schwarzer sued the magazine over its use of "cover girls." She argued that presenting women as sexual objects denied them human dignity. Nannen defended the practice as an issue of press freedom and artistic expression.

A major crisis occurred in 1983 regarding the so-called "Hitler Diaries." *Stern* purchased these diaries for 9.3 million Deutsche Marks, believing they were authentic. However, scientific examinations quickly proved that the diaries were actually forgeries. This scandal caused a massive loss of credibility and led to the resignation of several editors. It remains a famous example of the dangers of "checkbook journalism," where money drives the pursuit of sensational stories. Following this event, the magazine had to work for many years to repair its damaged reputation.

In recent years, *Stern* has faced declining print circulation due to changing reading habits. In 2003, its advertising revenue was 218 million euros, but this fell to 107.3 million euros by 2020. Print sales dropped from over one million copies at the turn of the century to 313,200 by October 2023. Despite this, the magazine is adapting by strengthening its online presence. Its e-paper circulation grew from 8,500 in 2015 to approximately 26,800 in 2020. The printed edition has also been reformatted to include more sidebars, infographics, and large-print photography to mimic modern digital styles.

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