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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.

• Acknowledgementsp. xii
• Introductionp. xvii
• The Work Of Representationp. 1
• Representation, Meaning and Languagep. 1
• Making meaning, representing thingsp. 2
• Language and representationp. 5
• Sharing the codesp. 7
• Theories of representationp. 10
• The language of traffic lightsp. 11
• Summaryp. 13
• Saussure's Legacyp. 16
• The social part of languagep. 18
• Critique of Saussure's modelp. 19
• Summaryp. 20
• From Language to Culture: Linguistics to semioticsp. 20
• Myth todayp. 24
• Discourse, Power and the Subjectp. 26
• From language to discoursep. 29
• Historicizing discourse: discursive practicesp. 31
• From discourse to power/knowledgep. 32
• Summary: Foucault and representationp. 35
• Charcot and the performance of hysteriap. 36
• Where is 'the Subject'?p. 39
• How to make sense of Velasquez' Las Meninasp. 40
• The subject of/in representationp. 42
• Conclusion: Representation, meaning and language reconsideredp. 45
• recording reality: documentary film and Televisionp. 60
• Introductionp. 60
• What do we Mean by 'Documentary'?p. 62
• Non-fiction textsp. 62
• Defining documentaryp. 64
• Types of Documentaryp. 66
• Categorizing documentaryp. 66
• Alternative categoriesp. 71
• Ethical documentary filmmakingp. 74
• Dramatization and the Documentaryp. 75
• Scripting and re-enactment in the documentaryp. 75
• Docudramap. 80
• Documentary - An historic genre?p. 81
• 'Postdocumentary'?p. 81
• Docusoapsp. 83
• Reality TVp. 89
• Natural History Documentariesp. 90
• Documenting animal lifep. 90
• Conclusionp. 96
• The Poetics and the Politics of Exhibiting Other Culturesp. 120
• Introductionp. 120
• Establishing Definitions, Negotiating Meanings, Discerning Objectsp. 122
• Introductionp. 122
• What is a 'museum'?p. 122
• What is an 'ethnographic museum'?p. 127
• Objects and meaningsp. 128
• The uses of textp. 132
• Questions of contextp. 133
• Summaryp. 134
• Fashioning Cultures: The poetics of exhibitingp. 134
• Introductionp. 134
• Introducing Paradisep. 135
• Paradise regainedp. 146
• Structuring Paradisep. 148
• Paradise: the exhibit as artefactp. 150
• The myths of Paradisep. 152
• Summaryp. 156
• Captivating Cultures: The politics of exhibitingp. 157
• Introductionp. 157
• Knowledge and powerp. 157
• Displaying othersp. 159
• Museums and the construction of culturep. 163
• Colonial spectaclesp. 167
• Summaryp. 170
• Devising New Models: Museums and their futuresp. 171
• Introductionp. 171
• Anthropology and colonial knowledgep. 172
• The writing of anthropological knowledgep. 172
• Collections as partial truthsp. 173
• Museums and contact zonesp. 177
• Art, artefact and ownershipp. 180
• Conclusionp. 184
• The Spectacle Of The 'Other'p. 215
• Introductionp. 215
• Heroes or villains?p. 216
• Why does' difference' matter?p. 224
• Racializing the 'Other'p. 228
• Commodity racism: Empire and the domestic worldp. 229
• Meanwhile, down on the plantation ...p. 232
• Signifying racial 'difference'p. 233
• Staging Racial 'Difference': 'And the melody lingered on ...'p. 237
• Heavenly bodiesp. 243
• Stereotyping as a Signifying Practicep. 247
• Representation, difference and powerp. 249
• Power and fantasyp. 251
• Fetishism and disavowalp. 253
• Contesting a Racialized Regime of Representationp. 259
• Reversing the stereotypesp. 260
• Positive and negative imagesp. 262
• Through the eye of representationp. 263
• Conclusionp. 267
• Exhibiting Masculinityp. 288
• Introductionp. 288
• Conceptualizing Masculinityp. 294
• Plural masculinitiesp. 295
• Thinking relationallyp. 295
• Invented categoriesp. 298
• Summaryp. 298
• Discourse and Representationp. 299
• Discourse, power/knowledge and the subjectp. 299
• Visual Codes of Masculinityp. 301
• 'Street style'p. 302
• 'Italian American'p. 305
• 'Conservative Englishness'p. 307
• Summaryp. 310
• Spectatorship and Subjectivizationp. 311
• Psychoanalysis and subjectivityp. 312
• Spectatorshipp. 314
• The spectacle of masculinityp. 315
• The problem with psychoanalysis and film theoryp. 316
• Techniques of the selfp. 317
• Consumption and Spectatorshipp. 318
• Sites of representationp. 319
• Just lookingp. 320
• Spectatorship, consumption and the 'new man'p. 321
• Conclusionp. 322
• Genre and Gender: The Case of Soap Operap. 335
• Introductionp. 335
• Representation and Media Fictionsp. 336
• Fiction and everyday lifep. 336
• Fiction as entertainmentp. 338
• But is it good for you?p. 340
• Mass Culture and Gendered Culturep. 341
• Women's culture and men's culturep. 341
• Images of women vs real womenp. 342
• Entertainment as a capitalist industryp. 343
• Dominant ideology, hegemony and cultural negotiationp. 344
• The gendering of cultural forms: high culture vs mass culturep. 345
• Genre, Representation and Soap Operap. 347
• The genre systemp. 347
• The genre productp. 347
• Genre and mass-produced fictionp. 349
• Genre as standardization and differentiationp. 349
• The genre product as textp. 351
• Genres and binary differencesp. 353
• Genre boundariesp. 353
• Signification and referencep. 355
• Cultural verisimilitude, generic verisimilitude and realismp. 356
• Media production and struggles for hegemonyp. 357
• Summaryp. 361
• Genres for Women: The case of soap operap. 361
• Genre, soap opera and genderp. 361
• The invention of soap operap. 362
• Women's culturep. 362
• Soap opera as women's genrep. 363
• Soap opera's binary oppositionsp. 363
• Serial form and gender representationp. 364
• Soap opera's address to the female audiencep. 366
• Talk vs actionp. 368
• Soap opera's serial worldp. 368
• Textual address and the construction of subjectsp. 369
• The ideal spectatorp. 369
• Female reading competencep. 371
• Cultural competence and the implied reader of the textp. 373
• The social audiencep. 374
• Conclusionp. 376
• Soap opera: a woman's form no more?p. 376
• Dissolving genre boundaries and gendered negotiationsp. 378
• Indexp. 391