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AUDIENCE - RECEPTION THEORY.pptx

Stuart Hall's reception theory model proposes that media producers encode preferred meanings into texts, but audiences can decode texts in different ways based on their own frameworks of knowledge and lived experiences. Specifically, Hall identifies three positions of decoding: dominant/hegemonic, negotiated, and oppositional. The model also accounts for how the structures of media production, like routines, genres, and the institutional and economic contexts can influence the encoding of meanings.

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MEDIA AUDIENCES STUART HALL – RECEPTION THEORY
RECEPTION THEORY Hall’s ‘encoding-decoding’ model argued that media producers encode ‘preferred meanings’ into texts, but these texts may be ‘read’ by their audiences in a number of different ways: • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. • The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
RECEPTION THEORY Hall’s ‘encoding-decoding’ model
RECEPTION THEORY Hall’s ‘encoding-decoding’ model Programme as ‘meaningful discourse’ encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding
RECEPTION THEORY Hall’s ‘encoding-decoding’ model Programme as ‘meaningful discourse’ encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Producer/Author
RECEPTION THEORY Hall’s ‘encoding-decoding’ model Programme as ‘meaningful discourse’ encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Hall explains that media texts are encoded using established production practices. For example, newspapers employ journalists to find or create stories. Events are framed using established story structures. Editors select and shape stories to construct versions of the truth that are entertaining, marketable and/or persuasive. Therefore, encoding always constructs a mediated worldview. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Furthermore, Hall explains that encoding processes use a variety of visual and aural codes (genre conventions) to enhance the messaging. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Furthermore, Hall explains that encoding processes use a variety of visual and aural codes (genre conventions) to enhance the messaging. For example, TV News programmes convey seriousness and gravity through visual codes like the formal attire of presenters. Aural conventions, like the tone of voice or the serious tone of theme tunes further reinforce the gravity of the stories. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Hall points to four main areas of concern within the structure of production. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: The content of newspapers is shaped by the 24hr news cycle meaning that breaking news is favoured. Courtroom reporting is a journalistic routine leading to criminal cases featuring heavily in news coverage. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: The content of newspapers is shaped by the 24hr news cycle meaning that breaking news is favoured. Courtroom reporting is a journalistic routine leading to criminal cases featuring heavily in news coverage. Understanding how the media is made can help us to uncover some of the biases that exist in media messaging. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: Long Form T.V. dramas will often be set up to realise a particular vision, usually controlled by a showrunner. This is particularly important in ensuring a continuity of vision across a series or multi season show. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: Long Form T.V. dramas will often be set up to realise a particular vision, usually controlled by a showrunner. This is particularly important in ensuring a continuity of vision across a series or multi season show. Understanding the showrunner’s intentions/ideological positions might help us to understanding some of the messaging within the show. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Genre conventions often frame the visual, aural and narrative structures of media texts. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Genre conventions often frame the visual, aural and narrative structures of media texts. For example, news stories are often constructed in a highly formulaic way, recycling familiar themes, events and characters in generic manner. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Long Form T.V. dramas often rely on generic conventions as a shorthand within the storytelling. Existing tropes can be recycled to gratify audiences with a sense of familiarity, or to interest and excite them by deliberately challenging conventions. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Hall’s main interest was the demonisation of black masculinity as a genre convention within both newspaper reportage and T.V. drama. He claims that these stereotypes exist as an ongoing trope within the narrative structure of both the newspaper and crime genre. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Institutional context: Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Institutional context: Hall points out that the media is constructed by institutions responsible for media production. He claims that the existing within these institutions may lead to socio- cultural and political bias; indeed, media producers will likely choose to employ people who share the same biases. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Predicting audience taste: Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Predicting audience taste: Media producers attempt to encode media texts in ways they think will appeal to their audience, making assumptions about their target audience so that their products remain commercially viable by fulfilling the needs or gratifications of the audience. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Predicting audience taste: It is highly debateable whether products construct or reflect audience attitudes and tastes. Take, for example, The Daily Mail. Rothermere maintains that the newspaper reflects the values of his Middle England audience, but critics might argue that they shape those values rather than reflecting them. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
Hall argues that Media products lead to a variety of audience-based readings because they are mostly constructed using visual signs. These signs create a connotative effect rather than a denotative exposition. RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
Hall argues that Media products lead to a variety of audience-based readings because they are mostly constructed using visual signs. These signs create a connotative effect rather than a denotative exposition. Hall concludes that media texts are polysemic and that audiences will read them in different ways based on their individual experiences. RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
Hall emphasises the difference between negotiated readings or oppositional readings and simple misreadings. RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
Hall emphasises the difference between negotiated readings or oppositional readings and simple misreadings. Misreadings might occur as a result of: • Overly complex narratives • Ideas that are too alien • Indecipherable language elements RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
Let’s return to our original definition to understand the different ways that Hall argued audiences might decode a text. RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
RECEPTION THEORY Hall’s ‘encoding-decoding’ model argued that media producers encode ‘preferred meanings’ into texts, but these texts may be ‘read’ by their audiences in a number of different ways: • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. • The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
RECEPTION THEORY - POSITIONING Hall’s ‘encoding-decoding’ model argued that media producers encode ‘preferred meanings’ into texts, but these texts may be ‘read’ by their audiences in a number of different ways: • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. • The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
RECEPTION THEORY - POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages.
RECEPTION THEORY - POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. Hall’s is influenced by Gramsci’s concept of hegemony. He suggests that an invisible set of rules and values shape our behaviours and beliefs. Hall argues that this hegemony defines what we think is ‘“natural” and “inevitable” about the social order. Hall argues that mainstream media, plays a significant role in maintaining and reinforcing the dominant ideology.
RECEPTION THEORY - POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. The British press often positions its audience to accept a range of ‘preferred readings’ around anything from the class system to immigration. The Daily Mail clearly reinforces a number of hegemonic positions by virtue of its conservative ideological assumptions. We are asked to assume that its messaging around the royal family, its vilification of illegal immigrants, its conservative assumptions around the welfare state etc. are ‘natural’ and ‘common sense’.
RECEPTION THEORY - POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. The British press often positions its audience to accept a range of ‘preferred readings’ around anything from the class system to immigration. The Daily Mail clearly reinforces a number of hegemonic positions by virtue of its conservative ideological assumptions. We are asked to assume that its messaging around the royal family, its vilification of illegal immigrants, its conservative assumptions around the welfare state etc. are ‘natural’ and ‘common sense’. However, Hall points out that these ideas are social constructs, presented in order to maintain the power of those who dominate and control our social structures. He argues that those who wield social power maintain authority because they control the media either directly or through close relationships with media owners.
RECEPTION THEORY - POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. It is important to note that hegemonies are not static. Like everything, that shift and change over time through the constant interaction of the process of encoding and decoding. Culture changes, demographics change, technology changes and with all of those changes the dominant ideology remains in constant flux. Now, more than ever, the democratisation of the media means that new voices find their way into the mainstream discourse.
RECEPTION THEORY - POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. It is important to note that hegemonies are not static. Like everything, that shift and change over time through the constant interaction of the process of encoding and decoding. Culture changes, demographics change, technology changes and with all of those changes the dominant ideology remains in constant flux. Now, more than ever, the democratisation of the media means that new voices find their way into the mainstream discourse.
RECEPTION THEORY - POSITIONING The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
RECEPTION THEORY - POSITIONING The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ (negotiated reading) • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
RECEPTION THEORY - POSITIONING The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ (negotiated reading) • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions. (oppositional reading)
RECEPTION THEORY - POSITIONING The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ (negotiated reading) • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions. (oppositional reading) Hall maintains that audiences engage in a continuous assessment of the media they consume and can accept or resist any hegemonic encodings. Hall explains that audiences filter mediated worldviews according to their lived experiences, which he calls ‘situated logics.’

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AUDIENCE - RECEPTION THEORY.pptx

  • 1.
    MEDIA AUDIENCES STUART HALL– RECEPTION THEORY
  • 2.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model argued that media producers encode ‘preferred meanings’ into texts, but these texts may be ‘read’ by their audiences in a number of different ways: • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. • The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
  • 3.
  • 4.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model Programme as ‘meaningful discourse’ encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding
  • 5.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model Programme as ‘meaningful discourse’ encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Producer/Author
  • 6.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model Programme as ‘meaningful discourse’ encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Producer/Author Audience
  • 7.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging Producer/Author Audience
  • 8.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
  • 9.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author
  • 10.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Hall explains that media texts are encoded using established production practices. For example, newspapers employ journalists to find or create stories. Events are framed using established story structures. Editors select and shape stories to construct versions of the truth that are entertaining, marketable and/or persuasive. Therefore, encoding always constructs a mediated worldview. Producer/Author Audience
  • 11.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Furthermore, Hall explains that encoding processes use a variety of visual and aural codes (genre conventions) to enhance the messaging. Producer/Author Audience
  • 12.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Furthermore, Hall explains that encoding processes use a variety of visual and aural codes (genre conventions) to enhance the messaging. For example, TV News programmes convey seriousness and gravity through visual codes like the formal attire of presenters. Aural conventions, like the tone of voice or the serious tone of theme tunes further reinforce the gravity of the stories. Producer/Author Audience
  • 13.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
  • 14.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Hall points to four main areas of concern within the structure of production. Producer/Author Audience
  • 15.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: Producer/Author Audience
  • 16.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: The content of newspapers is shaped by the 24hr news cycle meaning that breaking news is favoured. Courtroom reporting is a journalistic routine leading to criminal cases featuring heavily in news coverage. Producer/Author Audience
  • 17.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: The content of newspapers is shaped by the 24hr news cycle meaning that breaking news is favoured. Courtroom reporting is a journalistic routine leading to criminal cases featuring heavily in news coverage. Understanding how the media is made can help us to uncover some of the biases that exist in media messaging. Producer/Author Audience
  • 18.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: Long Form T.V. dramas will often be set up to realise a particular vision, usually controlled by a showrunner. This is particularly important in ensuring a continuity of vision across a series or multi season show. Producer/Author Audience
  • 19.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Routines of production: Long Form T.V. dramas will often be set up to realise a particular vision, usually controlled by a showrunner. This is particularly important in ensuring a continuity of vision across a series or multi season show. Understanding the showrunner’s intentions/ideological positions might help us to understanding some of the messaging within the show. Producer/Author Audience
  • 20.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Producer/Author Audience
  • 21.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Genre conventions often frame the visual, aural and narrative structures of media texts. Producer/Author Audience
  • 22.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Genre conventions often frame the visual, aural and narrative structures of media texts. For example, news stories are often constructed in a highly formulaic way, recycling familiar themes, events and characters in generic manner. Producer/Author Audience
  • 23.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Long Form T.V. dramas often rely on generic conventions as a shorthand within the storytelling. Existing tropes can be recycled to gratify audiences with a sense of familiarity, or to interest and excite them by deliberately challenging conventions. Producer/Author Audience
  • 24.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Genre-driven mediation: Hall’s main interest was the demonisation of black masculinity as a genre convention within both newspaper reportage and T.V. drama. He claims that these stereotypes exist as an ongoing trope within the narrative structure of both the newspaper and crime genre. Producer/Author Audience
  • 25.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Institutional context: Producer/Author Audience
  • 26.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Institutional context: Hall points out that the media is constructed by institutions responsible for media production. He claims that the existing within these institutions may lead to socio- cultural and political bias; indeed, media producers will likely choose to employ people who share the same biases. Producer/Author Audience
  • 27.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Predicting audience taste: Producer/Author Audience
  • 28.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Predicting audience taste: Media producers attempt to encode media texts in ways they think will appeal to their audience, making assumptions about their target audience so that their products remain commercially viable by fulfilling the needs or gratifications of the audience. Producer/Author Audience
  • 29.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Predicting audience taste: It is highly debateable whether products construct or reflect audience attitudes and tastes. Take, for example, The Daily Mail. Rothermere maintains that the newspaper reflects the values of his Middle England audience, but critics might argue that they shape those values rather than reflecting them. Producer/Author Audience
  • 30.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
  • 31.
    Hall argues thatMedia products lead to a variety of audience-based readings because they are mostly constructed using visual signs. These signs create a connotative effect rather than a denotative exposition. RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
  • 32.
    Hall argues thatMedia products lead to a variety of audience-based readings because they are mostly constructed using visual signs. These signs create a connotative effect rather than a denotative exposition. Hall concludes that media texts are polysemic and that audiences will read them in different ways based on their individual experiences. RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
  • 33.
    Hall emphasises thedifference between negotiated readings or oppositional readings and simple misreadings. RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
  • 34.
    Hall emphasises thedifference between negotiated readings or oppositional readings and simple misreadings. Misreadings might occur as a result of: • Overly complex narratives • Ideas that are too alien • Indecipherable language elements RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
  • 35.
    Let’s return toour original definition to understand the different ways that Hall argued audiences might decode a text. RECEPTION THEORY Hall’s ‘encoding-decoding’ model encoding Meaning structures I Meaning structures II Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure Frameworks of knowledge ------------------------------------ Structure of production ------------------------------------ Technical infrastructure decoding Media Text conveys/carries meaning/messaging NB: The audience must perceive the media text as meaningful. i.e. it has to have a use or fulfil a need or gratification. Producer/Author Audience
  • 36.
    RECEPTION THEORY Hall’s ‘encoding-decoding’model argued that media producers encode ‘preferred meanings’ into texts, but these texts may be ‘read’ by their audiences in a number of different ways: • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. • The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
  • 37.
    RECEPTION THEORY -POSITIONING Hall’s ‘encoding-decoding’ model argued that media producers encode ‘preferred meanings’ into texts, but these texts may be ‘read’ by their audiences in a number of different ways: • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. • The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
  • 38.
    RECEPTION THEORY -POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages.
  • 39.
    RECEPTION THEORY -POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. Hall’s is influenced by Gramsci’s concept of hegemony. He suggests that an invisible set of rules and values shape our behaviours and beliefs. Hall argues that this hegemony defines what we think is ‘“natural” and “inevitable” about the social order. Hall argues that mainstream media, plays a significant role in maintaining and reinforcing the dominant ideology.
  • 40.
    RECEPTION THEORY -POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. The British press often positions its audience to accept a range of ‘preferred readings’ around anything from the class system to immigration. The Daily Mail clearly reinforces a number of hegemonic positions by virtue of its conservative ideological assumptions. We are asked to assume that its messaging around the royal family, its vilification of illegal immigrants, its conservative assumptions around the welfare state etc. are ‘natural’ and ‘common sense’.
  • 41.
    RECEPTION THEORY -POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. The British press often positions its audience to accept a range of ‘preferred readings’ around anything from the class system to immigration. The Daily Mail clearly reinforces a number of hegemonic positions by virtue of its conservative ideological assumptions. We are asked to assume that its messaging around the royal family, its vilification of illegal immigrants, its conservative assumptions around the welfare state etc. are ‘natural’ and ‘common sense’. However, Hall points out that these ideas are social constructs, presented in order to maintain the power of those who dominate and control our social structures. He argues that those who wield social power maintain authority because they control the media either directly or through close relationships with media owners.
  • 42.
    RECEPTION THEORY -POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. It is important to note that hegemonies are not static. Like everything, that shift and change over time through the constant interaction of the process of encoding and decoding. Culture changes, demographics change, technology changes and with all of those changes the dominant ideology remains in constant flux. Now, more than ever, the democratisation of the media means that new voices find their way into the mainstream discourse.
  • 43.
    RECEPTION THEORY -POSITIONING • The dominant-hegemonic position: a ‘preferred reading’ that accepts the text’s messages and the ideological assumptions behind the messages. It is important to note that hegemonies are not static. Like everything, that shift and change over time through the constant interaction of the process of encoding and decoding. Culture changes, demographics change, technology changes and with all of those changes the dominant ideology remains in constant flux. Now, more than ever, the democratisation of the media means that new voices find their way into the mainstream discourse.
  • 44.
    RECEPTION THEORY -POSITIONING The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
  • 45.
    RECEPTION THEORY -POSITIONING The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ (negotiated reading) • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions.
  • 46.
    RECEPTION THEORY -POSITIONING The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ (negotiated reading) • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions. (oppositional reading)
  • 47.
    RECEPTION THEORY -POSITIONING The negotiated position: the reader accepts the text’s ideological assumptions, but disagrees with aspects of the messages, so negotiates the meaning to fit with their ‘lived experience.’ (negotiated reading) • The oppositional reading: the reader rejects both the overt message and its underlying ideological assumptions. (oppositional reading) Hall maintains that audiences engage in a continuous assessment of the media they consume and can accept or resist any hegemonic encodings. Hall explains that audiences filter mediated worldviews according to their lived experiences, which he calls ‘situated logics.’