Encoding/decoding
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Hall, S. (1980) "Encoding/decoding." Culture, Media, Language: Working Papers in Cultural Studies, 1972-1979 (pp. 128-295). London: Hutchinson.
Traditional mass comm research imagined a linear "circuit" or "loop"
- Instead, we can think of a structure of "linked but distinctive moments" (128)
- "production, circulation, distribution/consumption, reproduction"
- "No one moment can fully guarantee the next" (129)
- The 'object' of these practices are "meanings and messages", "sign-vehicles" (128)
Contents |
"Moments" of this process
Production
- Construction of a message by industrial actors
- Determining its "message form" (129)
- The "labour process" in the discursive mode
- Encoding
Reception, consumption
- Not identical nor parallel to production
- Audience-centered
- Before a message can have an "effect", "satisfy a "need", or be "put to a "use"", it must be decoded and "appropriated as meaningful discourse" (130)
- It is then these decoded messages that may have effects, uses, or needs
"The codes of encoding and decoding may not be perfectly symmetrical. The degrees of symmetry - that is, the degrees of 'understanding' and 'misunderstanding' in the communicative exchange - depend on the degrees of symmetry/asymmetry (relations of equivalence) established between the positions of the 'personifications', encoder-producer and decoder-receiver." (131)
- "Distortions" or "misunderstandings" arise from the lack of equivalence
- Not simply a failure on the part of the producer-encoder (131)
Construction of codes
- "There is no zero degree in language", nothing "natural" about it (132)
- Some codes are so widely distributed and learned at such an early age that they "appear not to be constructed" (132)
- But even "apparently 'natural' visual codes are culture-specific" (132)
- Re: Eco
Language is also a site of class structure
- Contested meanings
- Barthes, signifiers "are [...] the fragments of ideology" (as quoted on 134)
"Preferred" meanings
"Dominant culture order" (134)
- Attempts to impose its connotations, though they are not "univocal", nor "uncontested"
- Social order embedded in these "preferred meanings"
- "Performative rules" of discourse "seek actively" to "enforce or pre-fer" certain "semantic domains" (134)
The circulation and enforcing of "dominant" or "preferred meanings"
- Is hard work! (135)
- Not uncontested, not self-evident
Other meanings
"Systematically distorted communication" in television
- Consistent 'failure' of preferred meanings to be read as intended (135)
Explained first (and erroneously) by "selective perception theory" (135)
- "significant clustering" of non-preferred readings indicates that it is not merely a private, individual phenomenon
Three reading positions
Dominant-hegemonic position (136)
Viewer reads the message as intended by its producer
- "Viewer is operating inside the dominant code" (136)
- Professional code is a sub-set that have been encoded a 2nd time to the broadcast industry's professional norms
Hegemonic position (137)
- Definies within its terms the mental horizon, universe, of possible meanings, of a whole sector of relations in a society or culture
- Carries with it the stamp of legitimacy - coterminus with what is "natural", "inevitable", "taken for granted" about the social order
Negotiated position (137)
Recognizes and engages actively with the hegemonic
- Viewer recognizes the "dominantly defined, professional signified" (137) as generalizable but reserves the ability not to localize
- Responds with a mixture of "adaptive" and "oppositional" elements
- Makes some local or "corporate" "ground rules" or "exceptions" to the hegemonic
- "Shot through with contradiction" (137)
Oppositional position (138)
Recognizes the hegemonic-dominant position
- But refuses to either localize OR globalize
- "Detotalizes" the message
- "Retotalizes" within "some alternate framework of reference" (138)
Important political moment:
- When the "negotiated" slips into an "oppositional" position
Categories: COMM526 | Theory | Cultural studies | Communication | Noise | Encoding/decoding | Media | Mass | Culture | Pop | Popular

