Stuart Hall
THE WORK OF REPRESENTATION
Representation, Meaning and Language
Making Meaning, Representing Things
Language and Representation
Theories of Representation
The Language of Traffic Lights
Saussure's Legacy
The Social Part of Language
Critique of Saussure's Model
From Language to Culture: Linguistics to Semiotics
Discourse, Power and the Subject
From Language to Discourse
Historicizing Discourse: Discursive Practices
From Discourse to Power/Knowledge
Summary: Foucault and Representation
Charcot and the Performance of Hysteria
Where is the 'Subject'?
How to Make Sense of Velasquez' Las Meninas
The Subject of/in Representation
Conclusion: Representation, Meaning and Language Reconsidered
READING A: Norman Bryson, 'Language, reflection and still life'
READING B: Roland Barthes, 'The world of wrestling'
READING C: Roland Barthes, 'Myth today'
READING D: Roland Barthes, 'Rhetoric of the image'
READING E: Ernesto Laclau and Chantal Mouffe, New reflections on the revolution of our time
READING F: Elaine Showalter, 'The performance of hysteria'
Frances Bonner
RECORDING REALITY: DOCUMENTARY FILM AND TELEVISION
Introduction
What Do We Mean By 'Documentary'?
Types of Documentary
Ethical Documentary Film-making
Dramatisation and the Documentary
Scripting and Re-enactment in the Documentary
Documentary - An Historic Genre?
Natural History Documentaries
Conclusion
READING A: Nichols Bill, 'The Qualities of Voice'
READING B: John Corner, 'Performing the real: documentary diversions'
READING C: Derek Bousé, 'Historia Fabulosus'
Henrietta Lidchi
THE POETICS AND THE POLITICS OF EXHIBITING OTHER CULTURES
Introduction
Establishing Definitions, Negotiating Meanings, Discerning Objects
What is an 'Ethnographic Museum'?
Fashioning Cultures: The Poetics of Exhibiting
Paradise: The Exhibit as Artefact
Captivating Cultures: The Politics of Exhibiting
Museums and the Construction of Culture
Devising New Models: Museums and Their Futures
Anthropology and Colonial Knowledge
The Writing of Anthropological Knowledge
Collections as Partial Truths
Museums and Contact Zones
Art, Artefact and Ownership
Conclusion
READING A: John Tradescant the younger, 'Extracts from the Musaeum Tradescantianum'
READING B: Elizabeth A. Lawrence, 'His very silence speaks: the horse who survived Custer's Last Stand'
READING C: Michael O'Hanlon, 'Paradise: portraying the New Guinea Highlands'
READING D: James Clifford, 'Paradise'
READING E: Annie E. Coombes, 'Material culture at the crossroads of knowledge: the case of the Benin "bronzes'"
READING F: John Picton, 'To see or Not To See! That is the Question'
Stuart Hall
THE SPECTACLE OF THE 'OTHER'
Introduction
Why Does 'Difference' Matter?
Racializing the 'Other'
Commodity Racism: Empire and the Domestic World
Meanwhile, Down on the Plantation ...
Signifying Racial 'Difference'
Staging Racial 'Difference': 'And the Melody Lingered On...'
Stereotyping as a Signifying Practice
Representation, Difference and Power
Contesting a Recialized Regime of Representation
Reversing the Stereotypes
Positive and Negative Images
Through the Eye of Representation
Conclusion
READING A: Anne McClintock, 'Soap and commodity spectacle'
READING B: Richard Dyer, 'Africa'
READING C: Sander Gilman, 'The deep structure of stereotypes'
READING D: Kobena Mercer, 'Reading racial fetishism'
Sean Nixon
EXHIBITING MASCULINITY
Introduction
Conceptualizing Masculinity
Discourse and Representation
Discourse, Power/Knowledge and the Subject
Visual Codes of Masculinity
'Conservative Englishness'
Spectatorship and Subjectivization
Psychoanalysis and Subjectivity
The Spectacle of Masculinity
The Problem with Psychoanalysis and Film Theory
Consumption and Spectatorship
Spectatorship, Consumption and the 'New Man'
Conclusion
READING A: Steve Neale, 'Masculinity as spectacle'
READING B: Sean Nixon, 'Technologies of looking: retailing and the visual'
Christine Gledhill with Vicky Ball
GENRE AND GENDER: THE CASE OF SOAP OPERA
Introduction
Representation and Media Fictions
Fiction and Everyday Life
Mass Culture and Gendered Culture
Women's Culture and Men's Culture
Images of Women vs. Real Women
Entertainment as a Capitalist Industry
Dominant Ideology, Hegemony and Cultural Negotiation
The Gendering of Cultural Forms: High Culture vs. Mass Culture
Genre, Representation and Soap Opera
Genre and Mass-produced Fiction
Genre as Standardization and Differentiation
The Genre Product as Text
Genres and Binary Differences
Signification and Reference
Cultural Verisimilitude, Generic Gerisimilitude and Realism
Media Production and Struggles for Hegemony
Genres for Women: Te Case of Soap Opera
Genre, Soap Opera and Gender
The Invention of Soap Opera
Soap Opera as Women's Genre
Soap Opera's Binary Oppositions
Serial Form and Gender Representation
Soap Opera's Address to the Female Audience
Soap Opera's Serial World
Textual Address and the Construction of Subjects
Female Reading Competence
Cultural Competence and the Implied Reader of the Text
Conclusion
Soap Opera: A Woman's Form No More?
Dissolving Genre Boundaries and Gendered Negotiations
READING A: Tania Modleski, 'The search for tomorrow in today's soap operas'
READING B: Charlotte Brunsdon, 'Crossroads: notes on soap opera'
READING C: Su Holmes and Deborah Jermyn 'Why not Wife Swap?
Index
