The Resource Representation, edited by Stuart Hall, Jessie Evans and Sean Nixon

Representation, edited by Stuart Hall, Jessie Evans and Sean Nixon

Statement of responsibility
edited by Stuart Hall, Jessie Evans and Sean Nixon
Member of
Cataloging source
Dewey number
  • PVCp3WezzOU
  • mbSxS7uuwB0
  • 2lKSUtizHr8
index present
LC call number
LC item number
.R47 2013
Literary form
non fiction
Nature of contents
Series statement
Culture, media and identities
Representation, edited by Stuart Hall, Jessie Evans and Sean Nixon
Oorspr. uitg.: 1997
Bibliography note
Includes bibliographial reference and index
  • zbnus
  • glg
  • fro
Carrier category
Carrier category code
Carrier MARC source
Content category
Content type code
Content type MARC source
  • Machine generated contents note: ch. 1 The Work Of Representation Stuart Hall -- 1.Representation, Meaning and Language -- 1.1.Making meaning, representing things -- 1.2.Language and representation -- 1.3.Sharing the codes -- 1.4.Theories of representation -- 1.5.The language of traffic lights -- 1.6.Summary -- 2.Saussure's Legacy -- 2.1.The social part of language -- 2.2.Critique of Saussure's model -- 2.3.Summary -- 3.From Language to Culture: Linguistics to semiotics -- 3.1.Myth today -- 4.Discourse, Power and the Subject -- 4.1.From language to discourse -- 4.2.Historicizing discourse: discursive practices -- 4.3.From discourse to power/knowledge -- 4.4.Summary: Foucault and representation -- 4.5.Charcot and the performance of hysteria -- 5.Where is th̀e Subject'? -- 5.1.How to make sense of Velasquez' Las Meninas -- 5.2.The subject of/in representation -- 6.Conclusion: Representation, meaning and language reconsidered -- References -- Readings for Chapter One --
  • Contents note continued: Reading A Norman Bryson, Lànguage, reflection and still life' -- Reading B Roland Barthes, Th̀e world of wrestling' -- Reading C Roland Barthes, Mỳth today' -- Reading D Roland Barthes, Rh̀etoric of the image' -- Reading E Ernesto Laclau and Chantal Mouffe, New Reflections on the Revolution of Our Time -- Reading F Elaine Showalter, Th̀e performance of hysteria' -- ch. 2 Recording Reality: Documentary Film And Television Frances Bonner -- 1.Introduction -- 2.What do we Mean by Dòcumentary'? -- 2.1.Non-fiction texts -- 2.2.Defining documentary -- 3.Types of Documentary -- 3.1.Categorizing documentary -- 3.2.Alternative categories -- 3.3.Ethical documentary filmmaking -- 4.Dramatization and the Documentary -- 4.1.Scripting and re-enactment in the documentary -- 4.2.Docudrama -- 5.Documentary - An historic genre? -- 5.1.Pòstdocumentary'? -- 5.2.Docusoaps -- 5.3.Reality TV -- 6.Natural History Documentaries -- 6.1.Documenting animal life --
  • Contents note continued: 7.Conclusion -- References -- Readings for Chapter Two -- Reading A Bill Nichols, Th̀e qualities of voice' -- Reading B John Corner, Pèrforming the real: documentary diversions' -- Reading C Derek Bouse, Hìstoria fabulosus' -- ch. 3 The Poetics And The Politics Of Exhibiting Other Cultures Henrietta Lidchi -- 1.Introduction -- 2.Establishing Definitions, Negotiating Meanings, Discerning Objects -- 2.1.Introduction -- 2.2.What is a mùseum'? -- 2.3.What is an et̀hnographic museum'? -- 2.4.Objects and meanings -- 2.5.The uses of text -- 2.6.Questions of context -- 2.7.Summary -- 3.Fashioning Cultures: The poetics of exhibiting -- 3.1.Introduction -- 3.2.Introducing Paradise -- 3.3.Paradise regained -- 3.4.Structuring Paradise -- 3.5.Paradise: the exhibit as artefact -- 3.6.The myths of Paradise -- 3.7.Summary -- 4.Captivating Cultures: The politics of exhibiting -- 4.1.Introduction -- 4.2.Knowledge and power -- 4.3.Displaying others --
  • Contents note continued: 4.4.Museums and the construction of culture -- 4.5.Colonial spectacles -- 4.6.Summary -- 5.Devising New Models: Museums and their futures -- 5.1.Introduction -- 5.2.Anthropology and colonial knowledge -- 5.3.The writing of anthropological knowledge -- 5.4.Collections as partial truths -- 5.5.Museums and contact zones -- 5.6.Art, artefact and ownership -- 6.Conclusion -- References -- Acknowledgements -- Readings for Chapter Three -- Reading A John Tradescant the younger, extracts from Musaeum Tradescantianum -- Reading B -- Elizabeth A. Lawrence, Hìs 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, Pàradise' -- Reading E Annie E. Coombes, Màterial culture at the crossroads of knowledge: the case of the Benin "bronzes'" -- Reading F John Picton, Tò see or not to see! That is the question' --
  • Contents note continued: ch. 4 The Spectacle Of The ot̀her' Stuart Hall -- 1.Introduction -- 1.1.Heroes or villains? -- 1.2.Why does dìfference' matter? -- 2.Racializing the Ot̀her' -- 2.1.Commodity racism: Empire and the domestic world -- 2.2.Meanwhile, down on the plantation ... -- 2.3.Signifying racial dìfference' -- 3.Staging Racial Dìfference': Aǹd the melody lingered on ...' -- 3.1.Heavenly bodies -- 4.Stereotyping as a Signifying Practice -- 4.1.Representation, difference and power -- 4.2.Power and fantasy -- 4.3.Fetishism and disavowal -- 5.Contesting a Racialized Regime of Representation -- 5.1.Reversing the stereotypes -- 5.2.Positive and negative images -- 5.3.Through the eye of representation -- 6.Conclusion -- References -- Readings for Chapter Four -- Reading A Anne McClintock, Soàp and commodity spectacle' -- Reading B Richard Dyer, Af̀rica' -- Reading C Sander Gilman, Th̀e deep structure of stereotypes' --
  • Contents note continued: Reading D Kobena Mercer, Rèading racial fetishism' -- ch. 5 Exhibiting Masculinity Sean Nixon -- 1.Introduction -- 2.Conceptualizing Masculinity -- 2.1.Plural masculinities -- 2.2.Thinking relationally -- 2.3.Invented categories -- 2.4.Summary -- 3.Discourse and Representation -- 3.1.Discourse, power/knowledge and the subject -- 4.Visual Codes of Masculinity -- 4.1.Str̀eet style' -- 4.2.It̀alian American' -- 4.3.Cònservative Englishness' -- 4.4.Summary -- 5.Spectatorship and Subjectivization -- 5.1.Psychoanalysis and subjectivity -- 5.2.Spectatorship -- 5.3.The spectacle of masculinity -- 5.4.The problem with psychoanalysis and film theory -- 5.5.Techniques of the self -- 6.Consumption and Spectatorship -- 6.1.Sites of representation -- 6.2.Just looking -- 6.3.Spectatorship, consumption and the nèw man' -- 7.Conclusion -- References -- Readings for Chapter Five -- Reading A Steve Neale, Màsculinity as spectacle' --
  • Contents note continued: Reading B Sean Nixon, Tèchnologies of looking: retailing and the visual' -- ch. 6 Genre And Gender: The Case Of Soap Opera Christine Gledhill with Vicky Ball -- 1.Introduction -- 2.Representation and Media Fictions -- 2.1.Fiction and everyday life -- 2.2.Fiction as entertainment -- 2.3.But is it good for you? -- 3.Mass Culture and Gendered Culture -- 3.1.Women's culture and men's culture -- 3.2.Images of women vs real women -- 3.3.Entertainment as a capitalist industry -- 3.4.Dominant ideology, hegemony and cultural negotiation -- 3.5.The gendering of cultural forms: high culture vs mass culture -- 4.Genre, Representation and Soap Opera -- 4.1.The genre system -- 4.1.1.The genre product -- 4.1.2.Genre and mass-produced fiction -- 4.2.Genre as standardization and differentiation -- 4.3.The genre product as text -- 4.3.1.Genres and binary differences -- 4.3.2.Genre boundaries -- 4.4.Signification and reference --
  • Contents note continued: 4.4.1.Cultural verisimilitude, generic verisimilitude and realism -- 4.5.Media production and struggles for hegemony -- 4.6.Summary -- 5.Genres for Women: The case of soap opera -- 5.1.Genre, soap opera and gender -- 5.1.1.The invention of soap opera -- 5.1.2.Women's culture -- 5.1.3.Soap opera as women's genre -- 5.1.4.Soap opera's binary oppositions -- 5.1.5.Serial form and gender representation -- 5.2.Soap opera's address to the female audience -- 5.2.1.Talk vs action -- 5.2.2.Soap opera's serial world -- 5.3.Textual address and the construction of subjects -- 5.3.1.The ideal spectator -- 5.3.2.Female reading competence -- 5.3.3.Cultural competence and the implied reader of the text -- 5.3.4.The social audience -- 6.Conclusion -- 6.1.Soap opera: a woman's form no more? -- 6.2.Dissolving genre boundaries and gendered negotiations -- References -- Readings for Chapter Six -- Reading A Tania Modleski, Th̀e search for tomorrow in today's soap operas' --
  • Contents note continued: Reading B Charlotte Brunsdon, Cr̀ossroads: notes on soap opera' -- Reading C Su Holmes and Deborah Jermyn, Wh̀y not Wife Swap?'
Control code
24 cm
Second edition
xxvi, 410 pages
Media category
Media MARC source
Media type code
Other physical details
System control number
  • (OCoLC)842411043
  • md30209183

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    • Deakin University Library - Geelong Waurn Ponds CampusBorrow it
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      -38.195656 144.304955
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