Representation / edited by Stuart Hall, Jessica Evans and Sean Nixon.

Includes bibliographical references and index.

Table of Contents

Acknowledgements xii
Introduction xvii
Stuart Hall
Chapter 1 The Work of Representation 1 (59)
Stuart Hall
1 Representation, Meaning and Language 1 (15)
1.1 Making meaning, representing things 2 (3)
1.2 Language and representation 5 (2)
1.3 Sharing the codes 7 (3)
1.4 Theories of representation 10 (1)
1.5 The language of traffic lights 11 (2)
1.6 Summary 13 (3)
2 Saussure's Legacy 16 (4)
2.1 The social part of language 18 (1)
2.2 Critique of Saussure's model 19 (1)
2.3 Summary 20 (1)
3 From Language to Culture: Linguistics 20 (6)
to semiotics
3.1 Myth today 24 (2)
4 Discourse, Power and the Subject 26 (13)
4.1 From language to discourse 29 (2)
4.2 Historicizing discourse: discursive 31 (1)
practices
4.3 From discourse to power/knowledge 32 (3)
4.4 Summary: Foucault and representation 35 (1)
4.5 Charcot and the performance of 36 (3)
hysteria
5 Where is `the Subject'? 39 (6)
5.1 How to make sense of Velasquez' Las 40 (2)
Meninas
5.2 The subject of/in representation 42 (3)
6 Conclusion: Representation, meaning and 45 (15)
language reconsidered
References 46 (2)
Readings for Chapter One 48 (1)
Reading A `Language, reflection and 48 (2)
still life'
Norman Bryson
Reading B `The world of wrestling' 50 (2)
Roland Barthes
Reading C `Myth today' 52 (1)
Roland Barthes
Reading D `Rhetoric of the image' 53 (1)
Roland Barthes
Reading E New Reflections on the 54 (2)
Revolution of Our Time
Ernesto Laclau
Chantal Mouffe
Reading F `The performance of hysteria' 56 (4)
Elaine Showalter
Chapter 2 Recording Reality: Documentary 60 (60)
Film and Television
Frances Bonner
1 Introduction 60 (2)
2 What do we Mean by `Documentary'? 62 (4)
2.1 Non-fiction texts 62 (2)
2.2 Defining documentary 64 (2)
3 Types of Documentary 66 (9)
3.1 Categorizing documentary 66 (5)
3.2 Alternative categories 71 (3)
3.3 Ethical documentary filmmaking 74 (1)
4 Dramatization and the Documentary 75 (6)
4.1 Scripting and re-enactment in the 75 (5)
documentary
4.2 Docudrama 80 (1)
5 Documentary - An historic genre? 81 (9)
5.1 `Postdocumentary'? 81 (2)
5.2 Docusoaps 83 (6)
5.3 Reality TV 89 (1)
6 Natural History Documentaries 90 (6)
6.1 Documenting animal life 90 (6)
7 Conclusion 96 (24)
References 97 (3)
Readings for Chapter Two 100 (1)
Reading A `The qualities of voice' 100 (3)
Elaine Showalter
Reading B `Performing the real: 103 (12)
documentary diversions'
John Corner
Reading C `Historia fabulosus' 115 (5)
Derek Bouse
Chapter 3 The Poetics and the Politics of 120 (95)
Exhibiting Other Cultures
Henrietta Lidchi
1 Introduction 120 (2)
2 Establishing Definitions, Negotiating 122 (12)
Meanings, Discerning Objects
2.1 Introduction 122 (1)
2.2 What is a `museum'? 122 (5)
2.3 What is an `ethnographic museum'? 127 (1)
2.4 Objects and meanings 128 (4)
2.5 The uses of text 132 (1)
2.6 Questions of context 133 (1)
2.7 Summary 134 (1)
3 Fashioning Cultures: The poetics of 134 (23)
exhibiting
3.1 Introduction 134 (1)
3.2 Introducing Paradise 135 (11)
3.3 Paradise regained 146 (2)
3.4 Structuring Paradise 148 (2)
3.5 Paradise: the exhibit as artefact 150 (2)
3.6 The myths of Paradise 152 (4)
3.7 Summary 156 (1)
4 Captivating Cultures: The politics of 157 (14)
exhibiting
4.1 Introduction 157 (1)
4.2 Knowledge and power 157 (2)
4.3 Displaying others 159 (4)
4.4 Museums and the construction of 163 (4)
culture
4.5 Colonial spectacles 167 (3)
4.6 Summary 170 (1)
5 Devising New Models: Museums and their 171 (13)
futures
5.1 Introduction 171 (1)
5.2 Anthropology and colonial knowledge 172 (1)
5.3 The writing of anthropological 172 (1)
knowledge
5.4 Collections as partial truths 173 (4)
5.5 Museums and contact zones 177 (3)
5.6 Art, artefact and ownership 180 (4)
6 Conclusion 184 (31)
References 186 (5)
Acknowledgements 191 (1)
Readings for Chapter Three 192 (1)
Reading A John Tradescant the younger, 192 (3)
extracts from Musaeum Tradescantianum
Reading B `His very silence speaks: the 195 (4)
horse who survived Custer's Last Stand'
Elizabeth A. Lawrence
Reading C Paradise: portraying the New 199 (4)
Guinea Highlands
Michael O'Hanlon
Reading D `Paradise' 203 (3)
James Clifford
Reading E `Material culture at the 206 (5)
crossroads of knowledge: the case of
the Benin "bronzes"'
Annie E. Coombes
Reading F `To see or not to see! That 211 (4)
is the question'
John Picton
Chapter 4 The Spectacle of the `Other' 215 (73)
Stuart Hall
1 Introduction 215 (13)
1.1 Heroes or villains? 216 (8)
1.2 Why does `difference' matter? 224 (4)
2 Racializing the `Other' 228 (9)
2.1 Commodity racism: Empire and the 229 (3)
domestic world
2.2 Meanwhile, down on the plantation... 232 (1)
2.3 Signifying racial `difference' 233 (4)
3 Staging Racial `Difference': `And the 237 (10)
melody lingered on ...'
3.1 Heavenly bodies 243 (4)
4 Stereotyping as a Signifying Practice 247 (12)
4.1 Representation, difference and power 249 (2)
4.2 Power and fantasy 251 (2)
4.3 Fetishism and disavowal 253 (6)
5 Contesting a Racialized Regime of 259 (8)
Representation
5.1 Reversing the stereotypes 260 (2)
5.2 Positive and negative images 262 (1)
5.3 Through the eye of representation 263 (4)
6 Conclusion 267 (21)
References 270 (2)
Readings for Chapter Four 272 (1)
Reading A `Soap and commodity spectacle' 272 (4)
Anne McClintock
Reading B `Africa' 276 (2)
Richard Dyer
Reading C `The deep structure of 278 (2)
stereotypes'
Sander Gilman
Reading D `Reading racial fetishism' 280 (8)
Kobena Mercer
Chapter 5 Exhibiting Masculinity 288 (47)
Sean Nixon
1 Introduction 288 (6)
2 Conceptualizing Masculinity 294 (5)
2.1 Plural masculinities 295 (1)
2.2 Thinking relationally 295 (3)
2.3 Invented categories 298 (1)
2.4 Summary 298 (1)
3 Discourse and Representation 299 (2)
3.1 Discourse, power/knowledge and the 299 (2)
subject
4 Visual Codes of Masculinity 301 (10)
4.1 `Street style' 302 (3)
4.2 `Italian American' 305 (2)
4.3 `Conservative Englishness' 307 (3)
4.4 Summary 310 (1)
5 Spectatorship and Subjectivization 311 (7)
5.1 Psychoanalysis and subjectivity 312 (2)
5.2 Spectatorship 314 (1)
5.3 The spectacle of masculinity 315 (1)
5.4 The problem with psychoanalysis and 316 (1)
film theory
5.5 Techniques of the self 317 (1)
6 Consumption and Spectatorship 318 (4)
6.1 Sites of representation 319 (1)
6.2 Just looking 320 (1)
6.3 Spectatorship, consumption and the 321 (1)
`new man'
7 Conclusion 322 (13)
References 324 (2)
Readings for Chapter Five 326 (1)
Reading A `Masculinity as spectacle' 326 (4)
Steve Neale
Reading B `Technologies of looking: 330 (5)
retailing and the visual'
Sean Nixon
Chapter 6 Genre and Gender: The Case of 335 (56)
Soap Opera
Christine Gledhill
Vicky Ball
1 Introduction 335 (1)
2 Representation and Media Fictions 336 (5)
2.1 Fiction and everyday life 336 (2)
2.2 Fiction as entertainment 338 (2)
2.3 But is it good for you? 340 (1)
3 Mass Culture and Gendered Culture 341 (6)
3.1 Women's culture and men's culture 341 (1)
3.2 Images of women vs real women 342 (1)
3.3 Entertainment as a capitalist 343 (1)
industry
3.4 Dominant ideology, hegemony and 344 (1)
cultural negotiation
3.5 The gendering of cultural forms: 345 (2)
high culture vs mass culture
4 Genre, Representation and Soap Opera 347 (14)
4.1 The genre system 347 (1)
4.1.1 The genre product 347 (2)
4.1.2 Genre and mass-produced fiction 349 (1)
4.2 Genre as standardization and 349 (2)
differentiation
4.3 The genre product as text 351 (2)
4.3.1 Genres and binary differences 353 (1)
4.3.2 Genre boundaries 353 (2)
4.4 Signification and reference 355 (1)
4.4.1 Cultural verisimilitude, generic 356 (1)
verisimilitude and realism
4.5 Media production and struggles for 357 (4)
hegemony
4.6 Summary 361 (1)
5 Genres for Women: The case of soap opera 361 (15)
5.1 Genre, soap opera and gender 361 (1)
5.1.1 The invention of soap opera 362 (1)
5.1.2 Women's culture 362 (1)
5.1.3 Soap opera as women's genre 363 (1)
5.1.4 Soap opera's binary oppositions 363 (1)
5.1.5 Serial form and gender 364 (2)
representation
5.2 Soap opera's address to the female 366 (2)
audience
5.2.1 Talk vs action 368 (1)
5.2.2 Soap opera's serial world 368 (1)
5.3 Textual address and the 369 (1)
construction of subjects
5.3.1 The ideal spectator 369 (2)
5.3.2 Female reading competence 371 (2)
5.3.3 Cultural competence and the 373 (1)
implied reader of the text
5.3.4 The social audience 374 (2)
6 Conclusion 376 (15)
6.1 Soap opera: a woman's form no more? 376 (2)
6.2 Dissolving genre boundaries and 378 (5)
gendered negotiations
References 383 (2)
Readings for Chapter Six 385 (1)
Reading A `The search for tomorrow in 385 (2)
today's soap operas'
Tania Modleski
Reading B `Crossroads: notes on soap 387 (2)
opera'
Charlotte Brunsdon
Reading C `Why not Wife Swap?' 389 (2)
Su Holmes
Deborah Jermyn
Index 391

Since 1997 Representation has been the go-to textbook for students learning the tools to question and critically analyze institutional and media texts and images. This long-awaited second edition: * updates and refreshes the approaches to representation, signalling key developments in the field * addresses the emergence of new technologies, media formats, politics and theories * includes an entirely new chapter on celebrity culture and reality TV * offers new exercises, readings, images and examples for a new generation of students This book once again provides an indispensible resource for students and teachers in cultural and media studies.