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ISBN 9781849205634 1849205477 9781849205474 1849205639 9781849205634
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Since 1997 Representation has been the key go-to textbook for students learning the tools to question and critically analyze institutional and media texts and images. This long-awaited Second Edition: . update and refreshes the approach to theories of representation by signalling key developments in the field . addresses the emergence of new technologies and formats of representation, from the internet and the digital revolution to reality TV . includes an entirely new chapter on celebrity culture and personalisation, to debates about representation and democracy, and involve illustrations of an intertextual nature, cutting across various technologies and formats in which 'the real' or the authentic makes an appearance . offers new exercises, new readings, new images and examples for a new generation of students This book will once again prove an indispensible resource for students and teachers in cultural and media studies.
Acknowledgements p. xii Introduction p. xvii The Work Of Representation p. 1 Representation, Meaning and Language p. 1 Making meaning, representing things p. 2 Language and representation p. 5 Sharing the codes p. 7 Theories of representation p. 10 The language of traffic lights p. 11 Summary p. 13 Saussure's Legacy p. 16 The social part of language p. 18 Critique of Saussure's model p. 19 Summary p. 20 From Language to Culture: Linguistics to semiotics p. 20 Discourse, Power and the Subject p. 26 From language to discourse p. 29 Historicizing discourse: discursive practices p. 31 From discourse to power/knowledge p. 32 Summary: Foucault and representation p. 35 Charcot and the performance of hysteria p. 36 Where is 'the Subject'? p. 39 How to make sense of Velasquez' Las Meninas p. 40 The subject of/in representation p. 42 Conclusion: Representation, meaning and language reconsidered p. 45 recording reality: documentary film and Television p. 60 Introduction p. 60 What do we Mean by 'Documentary'? p. 62 Non-fiction texts p. 62 Defining documentary p. 64 Types of Documentary p. 66 Categorizing documentary p. 66 Alternative categories p. 71 Ethical documentary filmmaking p. 74 Dramatization and the Documentary p. 75 Scripting and re-enactment in the documentary p. 75 Docudrama p. 80 Documentary - An historic genre? p. 81 'Postdocumentary'? p. 81 Docusoaps p. 83 Reality TV p. 89 Natural History Documentaries p. 90 Documenting animal life p. 90 Conclusion p. 96 The Poetics and the Politics of Exhibiting Other Cultures p. 120 Introduction p. 120 Establishing Definitions, Negotiating Meanings, Discerning Objects p. 122 Introduction p. 122 What is a 'museum'? p. 122 What is an 'ethnographic museum'? p. 127 Objects and meanings p. 128 The uses of text p. 132 Questions of context p. 133 Summary p. 134 Fashioning Cultures: The poetics of exhibiting p. 134 Introduction p. 134 Introducing Paradise p. 135 Paradise regained p. 146 Structuring Paradise p. 148 Paradise: the exhibit as artefact p. 150 The myths of Paradise p. 152 Summary p. 156 Captivating Cultures: The politics of exhibiting p. 157 Introduction p. 157 Knowledge and power p. 157 Displaying others p. 159 Museums and the construction of culture p. 163 Colonial spectacles p. 167 Summary p. 170 Devising New Models: Museums and their futures p. 171 Introduction p. 171 Anthropology and colonial knowledge p. 172 The writing of anthropological knowledge p. 172 Collections as partial truths p. 173 Museums and contact zones p. 177 Art, artefact and ownership p. 180 Conclusion p. 184 The Spectacle Of The 'Other' p. 215 Introduction p. 215 Heroes or villains? p. 216 Why does' difference' matter? p. 224 Racializing the 'Other' p. 228 Commodity racism: Empire and the domestic world p. 229 Meanwhile, down on the plantation ... p. 232 Signifying racial 'difference' p. 233 Staging Racial 'Difference': 'And the melody lingered on ...' p. 237 Stereotyping as a Signifying Practice p. 247 Representation, difference and power p. 249 Power and fantasy p. 251 Fetishism and disavowal p. 253 Contesting a Racialized Regime of Representation p. 259 Reversing the stereotypes p. 260 Positive and negative images p. 262 Through the eye of representation p. 263 Conclusion p. 267 Exhibiting Masculinity p. 288 Introduction p. 288 Conceptualizing Masculinity p. 294 Plural masculinities p. 295 Thinking relationally p. 295 Invented categories p. 298 Summary p. 298 Discourse and Representation p. 299 Discourse, power/knowledge and the subject p. 299 Visual Codes of Masculinity p. 301 'Street style' p. 302 'Italian American' p. 305 'Conservative Englishness' p. 307 Summary p. 310 Spectatorship and Subjectivization p. 311 Psychoanalysis and subjectivity p. 312 Spectatorship p. 314 The spectacle of masculinity p. 315 The problem with psychoanalysis and film theory p. 316 Techniques of the self p. 317 Consumption and Spectatorship p. 318 Sites of representation p. 319 Just looking p. 320 Spectatorship, consumption and the 'new man' p. 321 Conclusion p. 322 Genre and Gender: The Case of Soap Opera p. 335 Introduction p. 335 Representation and Media Fictions p. 336 Fiction and everyday life p. 336 Fiction as entertainment p. 338 But is it good for you? p. 340 Mass Culture and Gendered Culture p. 341 Women's culture and men's culture p. 341 Images of women vs real women p. 342 Entertainment as a capitalist industry p. 343 Dominant ideology, hegemony and cultural negotiation p. 344 The gendering of cultural forms: high culture vs mass culture p. 345 Genre, Representation and Soap Opera p. 347 The genre system p. 347 The genre product p. 347 Genre and mass-produced fiction p. 349 Genre as standardization and differentiation p. 349 The genre product as text p. 351 Genres and binary differences p. 353 Genre boundaries p. 353 Signification and reference p. 355 Cultural verisimilitude, generic verisimilitude and realism p. 356 Media production and struggles for hegemony p. 357 Summary p. 361 Genres for Women: The case of soap opera p. 361 Genre, soap opera and gender p. 361 The invention of soap opera p. 362 Women's culture p. 362 Soap opera as women's genre p. 363 Soap opera's binary oppositions p. 363 Serial form and gender representation p. 364 Soap opera's address to the female audience p. 366 Talk vs action p. 368 Soap opera's serial world p. 368 Textual address and the construction of subjects p. 369 The ideal spectator p. 369 Female reading competence p. 371 Cultural competence and the implied reader of the text p. 373 The social audience p. 374 Conclusion p. 376 Soap opera: a woman's form no more? p. 376 Dissolving genre boundaries and gendered negotiations p. 378 Index p. 391