Representation / edited by Stuart Hall, Jessica Evans and Sean Nixon.

Enhanced descriptions from Syndetics:

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.

Table of contents provided by Syndetics

• Acknowledgements (p. xii)
• Introduction (p. xvii)
• Chapter 1 The Work Of Representation (p. 1)
• 1 Representation, Meaning and Language (p. 1)
• 1.1 Making meaning, representing things (p. 2)
• 1.2 Language and representation (p. 5)
• 1.3 Sharing the codes (p. 7)
• 1.4 Theories of representation (p. 10)
• 1.5 The language of traffic lights (p. 11)
• 1.6 Summary (p. 13)
• 2 Saussure's Legacy (p. 16)
• 2.1 The social part of language (p. 18)
• 2.2 Critique of Saussure's model (p. 19)
• 2.3 Summary (p. 20)
• 3 From Language to Culture: Linguistics to semiotics (p. 20)
• 3.1 Myth today (p. 24)
• 4 Discourse, Power and the Subject (p. 26)
• 4.1 From language to discourse (p. 29)
• 4.2 Historicizing discourse: discursive practices (p. 31)
• 4.3 From discourse to power/knowledge (p. 32)
• 4.4 Summary: Foucault and representation (p. 35)
• 4.5 Charcot and the performance of hysteria (p. 36)
• 5 Where is 'the Subject'? (p. 39)
• 5.1 How to make sense of Velasquez' Las Meninas (p. 40)
• 5.2 The subject of/in representation (p. 42)
• 6 Conclusion: Representation, meaning and language reconsidered (p. 45)
• References (p. 46)
• Readings for Chapter One (p. 48)
• Reading A Norman Bryson, 'Language, reflection and still life' (p. 48)
• Reading B Roland Barthes, 'The world of wrestling' (p. 50)
• Reading C Roland Barthes, 'Myth today' (p. 52)
• Reading D Roland Barthes, 'Rhetoric of the image' (p. 53)
• Reading E Ernesto Laclau and Chantal Mouffe, New Reflections on the Revolution of Our Time (p. 54)
• Reading F Elaine Showalter, 'The performance of hysteria' (p. 56)
• Chapter 2 recording reality: documentary film and Television (p. 60)
• 1 Introduction (p. 60)
• 2 What do we Mean by 'Documentary'? (p. 62)
• 2.1 Non-fiction texts (p. 62)
• 2.2 Defining documentary (p. 64)
• 3 Types of Documentary (p. 66)
• 3.1 Categorizing documentary (p. 66)
• 3.2 Alternative categories (p. 71)
• 3.3 Ethical documentary filmmaking (p. 74)
• 4 Dramatization and the Documentary (p. 75)
• 4.1 Scripting and re-enactment in the documentary (p. 75)
• 4.2 Docudrama (p. 80)
• 5 Documentary - An historic genre? (p. 81)
• 5.1 'Postdocumentary'? (p. 81)
• 5.2 Docusoaps (p. 83)
• 5.3 Reality TV (p. 89)
• 6 Natural History Documentaries (p. 90)
• 6.1 Documenting animal life (p. 90)
• 7 Conclusion (p. 96)
• References (p. 97)
• Readings for Chapter Two (p. 100)
• Reading A Bill Nichols, 'The qualities of voice' (p. 100)
• Reading B John Corner, 'Performing the real: documentary diversions' (p. 103)
• Reading C Derek Bousé, 'Historia fabulosus' (p. 115)
• Chapter 3 The Poetics and the Politics of Exhibiting Other Cultures (p. 120)
• 1 Introduction (p. 120)
• 2 Establishing Definitions, Negotiating Meanings, Discerning Objects (p. 122)
• 2.1 Introduction (p. 122)
• 2.2 What is a 'museum'? (p. 122)
• 2.3 What is an 'ethnographic museum'? (p. 127)
• 2.4 Objects and meanings (p. 128)
• 2.5 The uses of text (p. 132)
• 2.6 Questions of context (p. 133)
• 2.7 Summary (p. 134)
• 3 Fashioning Cultures: The poetics of exhibiting (p. 134)
• 3.1 Introduction (p. 134)
• 3.2 Introducing Paradise (p. 135)
• 3.3 Paradise regained (p. 146)
• 3.4 Structuring Paradise (p. 148)
• 3.5 Paradise: the exhibit as artefact (p. 150)
• 3.6 The myths of Paradise (p. 152)
• 3.7 Summary (p. 156)
• 4 Captivating Cultures: The politics of exhibiting (p. 157)
• 4.1 Introduction (p. 157)
• 4.2 Knowledge and power (p. 157)
• 4.3 Displaying others (p. 159)
• 4.4 Museums and the construction of culture (p. 163)
• 4.5 Colonial spectacles (p. 167)
• 4.6 Summary (p. 170)
• 5 Devising New Models: Museums and their futures (p. 171)
• 5.1 Introduction (p. 171)
• 5.2 Anthropology and colonial knowledge (p. 172)
• 5.3 The writing of anthropological knowledge (p. 172)
• 5.4 Collections as partial truths (p. 173)
• 5.5 Museums and contact zones (p. 177)
• 5.6 Art, artefact and ownership (p. 180)
• 6 Conclusion (p. 184)
• References (p. 186)
• Acknowledgements (p. 191)
• Readings for Chapter Three (p. 192)
• Reading A John Tradescant the younger, extracts from Musaeum Tradescantianum (p. 192)
• Reading B Elizabeth A. Lawrence, 'His very silence speaks: the horse who survived Custer's Last Stand' (p. 195)
• Reading C Michael O'Hanlon, Paradise: portraying the New Guinea Highlands (p. 199)
• Reading D James Clifford, 'Paradise' (p. 203)
• Reading E Annie E. Coombes, 'Material culture at the crossroads of knowledge: the case of the Benin "bronzes'" (p. 206)
• Reading F John Picton, 'To see or not to see! That is the question' (p. 211)
• Chapter 4 The Spectacle Of The 'Other' (p. 215)
• 1 Introduction (p. 215)
• 1.1 Heroes or villains? (p. 216)
• 1.2 Why does' difference' matter? (p. 224)
• 2 Racializing the 'Other' (p. 228)
• 2.1 Commodity racism: Empire and the domestic world (p. 229)
• 2.2 Meanwhile, down on the plantation ... (p. 232)
• 2.3 Signifying racial 'difference' (p. 233)
• 3 Staging Racial 'Difference': 'And the melody lingered on ...' (p. 237)
• 3.1 Heavenly bodies (p. 243)
• 4 Stereotyping as a Signifying Practice (p. 247)
• 4.1 Representation, difference and power (p. 249)
• 4.2 Power and fantasy (p. 251)
• 4.3 Fetishism and disavowal (p. 253)
• 5 Contesting a Racialized Regime of Representation (p. 259)
• 5.1 Reversing the stereotypes (p. 260)
• 5.2 Positive and negative images (p. 262)
• 5.3 Through the eye of representation (p. 263)
• 6 Conclusion (p. 267)
• References (p. 270)
• Readings for Chapter Four (p. 272)
• Reading A Anne McClintock, 'Soap and commodity spectacle' (p. 272)
• Reading B Richard Dyer, 'Africa' (p. 276)
• Reading C Sander Gilman, 'The deep structure of stereotypes' (p. 278)
• Reading D Kobena Mercer, 'Reading racial fetishism' (p. 280)
• Chapter 5 Exhibiting Masculinity (p. 288)
• 1 Introduction (p. 288)
• 2 Conceptualizing Masculinity (p. 294)
• 2.1 Plural masculinities (p. 295)
• 2.2 Thinking relationally (p. 295)
• 2.3 Invented categories (p. 298)
• 2.4 Summary (p. 298)
• 3 Discourse and Representation (p. 299)
• 3.1 Discourse, power/knowledge and the subject (p. 299)
• 4 Visual Codes of Masculinity (p. 301)
• 4.1 'Street style' (p. 302)
• 4.2 'Italian American' (p. 305)
• 4.3 'Conservative Englishness' (p. 307)
• 4.4 Summary (p. 310)
• 5 Spectatorship and Subjectivization (p. 311)
• 5.1 Psychoanalysis and subjectivity (p. 312)
• 5.2 Spectatorship (p. 314)
• 5.3 The spectacle of masculinity (p. 315)
• 5.4 The problem with psychoanalysis and film theory (p. 316)
• 5.5 Techniques of the self (p. 317)
• 6 Consumption and Spectatorship (p. 318)
• 6.1 Sites of representation (p. 319)
• 6.2 Just looking (p. 320)
• 6.3 Spectatorship, consumption and the 'new man' (p. 321)
• 7 Conclusion (p. 322)
• References (p. 324)
• Readings for Chapter Five (p. 326)
• Reading A Steve Neale, 'Masculinity as spectacle' (p. 326)
• Reading B Sean Nixon, 'Technologies of looking: retailing and the visual' (p. 330)
• Chapter 6 Genre and Gender: The Case of Soap Opera (p. 335)
• 1 Introduction (p. 335)
• 2 Representation and Media Fictions (p. 336)
• 2.1 Fiction and everyday life (p. 336)
• 2.2 Fiction as entertainment (p. 338)
• 2.3 But is it good for you? (p. 340)
• 3 Mass Culture and Gendered Culture (p. 341)
• 3.1 Women's culture and men's culture (p. 341)
• 3.2 Images of women vs real women (p. 342)
• 3.3 Entertainment as a capitalist industry (p. 343)
• 3.4 Dominant ideology, hegemony and cultural negotiation (p. 344)
• 3.5 The gendering of cultural forms: high culture vs mass culture (p. 345)
• 4 Genre, Representation and Soap Opera (p. 347)
• 4.1 The genre system (p. 347)
• 4.1.1 The genre product (p. 347)
• 4.1.2 Genre and mass-produced fiction (p. 349)
• 4.2 Genre as standardization and differentiation (p. 349)
• 4.3 The genre product as text (p. 351)
• 4.3.1 Genres and binary differences (p. 353)
• 4.3.2 Genre boundaries (p. 353)
• 4.4 Signification and reference (p. 355)
• 4.4.1 Cultural verisimilitude, generic verisimilitude and realism (p. 356)
• 4.5 Media production and struggles for hegemony (p. 357)
• 4.6 Summary (p. 361)
• 5 Genres for Women: The case of soap opera (p. 361)
• 5.1 Genre, soap opera and gender (p. 361)
• 5.1.1 The invention of soap opera (p. 362)
• 5.1.2 Women's culture (p. 362)
• 5.1.3 Soap opera as women's genre (p. 363)
• 5.1.4 Soap opera's binary oppositions (p. 363)
• 5.1.5 Serial form and gender representation (p. 364)
• 5.2 Soap opera's address to the female audience (p. 366)
• 5.2.1 Talk vs action (p. 368)
• 5.2.2 Soap opera's serial world (p. 368)
• 5.3 Textual address and the construction of subjects (p. 369)
• 5.3.1 The ideal spectator (p. 369)
• 5.3.2 Female reading competence (p. 371)
• 5.3.3 Cultural competence and the implied reader of the text (p. 373)
• 5.3.4 The social audience (p. 374)
• 6 Conclusion (p. 376)
• 6.1 Soap opera: a woman's form no more? (p. 376)
• 6.2 Dissolving genre boundaries and gendered negotiations (p. 378)
• References (p. 383)
• Readings for Chapter Six (p. 385)
• Reading A Tania Modleski, 'The search for tomorrow in today's soap operas' (p. 385)
• Reading B Charlotte Brunsdon, 'Crossroads: notes on soap opera' (p. 387)
• Reading C Su Holmes and Deborah Jermyn, 'Why not Wife Swap?' (p. 389)
• Index (p. 391)

Author notes provided by Syndetics