Content deleted Content added
A brief set of notes on the prehistory of the model. I'll add citations in the next couple days. |
→References: dead link to Stuart Hall's article from University of Birmingham. It's still accessible via the wayback machine, but unsure on if it would be approppriate to link to the wayback machine |
||
| (9 intermediate revisions by 8 users not shown) | |||
Line 1:
{{Short description|Cultural studies model}}
The '''encoding/decoding model of communication''' emerged in rough and general form in 1948 in [[Claude E. Shannon]]'s "A Mathematical Theory of Communication," where it was part of a technical schema for designating the technological encoding of signals. Gradually, it was adapted by communications scholars, most notably [[Wilbur Schramm]], in the 1950s, primarily to explain how mass communications could be effectively transmitted to a public, its meanings intact by the audience (i.e., decoders).<ref name="How communication works">{{cite book|first=Schramm|last=Wilbur|title=The process and effects of mass communication|publisher=[[University of Illinois Press]]|___location=Urbana, Illinois|date=1954}}</ref> As the jargon of Shannon's information theory moved into semiotics, notably through the work of thinkers [[Roman Jakobson]], [[Roland Barthes]], and [[Umberto Eco]], who in the course of the 1960s began to put more emphasis on the social and political aspects of encoding.<ref name="Code">{{cite book|first=Bernard|last=Geoghegan|title=Code: From Information Theory to French Theory|publisher=[[Duke University Press]]|___location=Durhan, North Carolina|date=2024}}</ref> It became much more widely known, and popularised, when adapted by cultural studies scholar [[Stuart Hall (cultural theorist)|Stuart Hall]] in 1973, for a conference addressing mass communications scholars
Thus, encoding/decoding is the translation needed for a message to be easily understood. When you decode a message, you extract the meaning of that message in ways to simplify it. Decoding has both verbal and non-verbal forms of communication: Decoding behavior without using words, such as displays of non-verbal communication. There are many examples, including observing body language and its associated emotions, e.g. monitoring signs when someone is upset, angry, or stressed where they use excessive hand/arm movements, crying, and even silence. Moreover, there are times when an individual can send a message across to someone, the message can be interpreted differently from person to person. Decoding is all about understanding others, based on the information given throughout the message being received. Whether there is a large audience or exchanging a message to one person, decoding is the process of obtaining, absorbing and sometimes utilizing information that was given throughout a verbal or non-verbal message.
Line 15:
The ''[[Decoding (semiotics)|decoding]]'' of a message is how an audience member is able to understand, and interpret the message. It is a process of interpretation and translation of coded information into a comprehensible form. The audience is trying to reconstruct the idea by giving meanings to symbols and by interpreting messages as a whole. Effective communication is accomplished only when the message is received and understood in the intended way. However, it is still possible for the message recipient to understand a message in a completely different way from what the encoder was trying to convey. This is when "distortions" or "misunderstandings" rise from "lack of equivalence" between the two sides in communicative exchange.<ref name=":3" />
In his essay,<ref name="Encoding and Decoding" /> Hall compares two models of communication. The first, the traditional model, is criticized for its linearity – sender/message/receiver – and for its lack of structured conception of various moments as a complex structure of relations. The author proposes the idea that there is more to the process of communication and, thus, advances a four-stage model of communication that takes into account the production, circulation, use and reproduction of media messages. In contrast to the traditional linear approach of the sender and receiver, he perceives each of these steps as both autonomous and interdependent. Hall further explains that the meanings and messages in the discursive "production" are organized through the operation of codes within the rules of "language." "Each stage will affect the message (or "product") being conveyed as a result of its 'discursive form' (e.g. practices, instruments, relations)."<ref name="Encoding and Decoding" /> Therefore, once the discourse is accomplished, it must be translated into social practices in order to be completed and effective – "If no 'meaning' is taken, there can be no 'consumption'." Each of these steps helps
These four stages are:<ref name="Encoding and Decoding" />
Line 51:
Hall explains this when he states "decoding within the negotiated version contains a mixture of adaptive and oppositional elements: it acknowledges the legitimacy of the [[Cultural hegemony|hegemonic]] definitions to make the grand significations (abstract), while, at a more restricted, situational (situated) level, it makes its own ground rules- it operates with exceptions to the rule".<ref name="Encoding and Decoding" /> Basically, this means that people understand the dominant position, they generally believe the position, but they are in a situation where they must make up their own separate rules to coexist with the dominant position. Hall provides an example involving an Industrial Relations Bill. In his example, he shows how a factory worker may recognize and agree with the dominant position that a wage freeze is beneficial. However, while the worker may recognize that the wage freeze is needed, they may not be willing to partake in a wage freeze since it will directly affect them rather than others <ref name="Hall"/> His example demonstrates that people may negotiate a code to work around their own beliefs and self-interests. This code is very much based on context.
Once more, Castleberry demonstrates the negotiated code at play in a modern-day television show. In ''Breaking Bad'', protagonist [[Walter White (Breaking Bad)|Walter White]]'s wife [[
===Oppositional position===
| |||