MESSAGE ENCODING AND DECODING MOVIE

The problem with the mass is that of вЂsubjective capacityвЂ™ as opposed to the вЂobjectiveвЂ™. But anything and everything is cultural bound. Denotation is the literal meaning which is cow that denotes a domestic animal and from there connotation occurs the identification of the cowвЂ™s colour or physical attributes, etc. Here we come across both connotation and denotation. The visual and the aural both are conglomerated and they form an integral part of the production even in the depiction of a cow. The images exhibited in television are real and not natural. He also focuses on the medium вЂtelevisionвЂ™, how it is a complex sign which is three dimensional, transferred to a two dimensional image and exhibited. Before the encoding takes place there are certain plans in terms of framing the technical infrastructure, relations of production and framework of knowledge which is encoded (meaning structures 1) then transferred to a programme as a meaningful discourse which is then decoded (meaning structures 2) and then interpreted into various technical infrastructures, relations of production and frameworks of knowledge. Figure 1 clearly states how the process takes place. Hall states that, вЂњProduction here constructs the messageвЂќ (p 167). There are various institutional structures that go into the production of a programme. It is an offshoot with some changes and the audience views it differently.ДЇurther, Hall in detail elaborates how the television communication process is a labour process through Capital.

MESSAGE ENCODING AND DECODING MOVIE

For example, a movie in the caliber of Troy is not the literary text itself. He says raw history cannot be transmitted by a television newscast. вЂњThe вЂencodingвЂ™ and вЂdecodingвЂ™, he argues are relatively autonomous and the communicative process is of determinate momentsвЂќ (p 167). For example a poem like вЂњTelephone ConversationвЂќ by Wole Soyinka written by an Afro-American can be understood by an Indian audience through their understanding of the existing oppression by the hegemony in terms of Dalits. Language forms a completely vital source here as language is cultural based and the meanings are comprehended through language by the mass in various ways. This can be paralleled with вЂњReader Response CriticismвЂќ where the reader becomes the centre focal point. The focus is on meanings and messages in the form of certain vehicles which are encoded and how it is transferred to the various audience. This structure has been adopted or incorporated by Hall from MarxвЂ™s Grundrisse and Capital, which shows how this structure sustains a form of passage. Here the structure has taken an alteration from the already existing one, where, the sent message is taken or understood or interpreted in different ways by different audience. This is a much more sustained approach where the process is structured вЂ“ production, circulation, distribution/consumption, reproduction. The way in which Hall looks into is a more valid structure so to speak in a distinctive way. The already existing structure is linear in motion and so there needs to be a change in the structure. But there is a necessity to rethink and restructure the whole stereotypical notion. Here it is a set pattern where the sender is the authoritative source for the receiver in terms of the sent message. The essay mainly focuses on the process of communication that has been commonly understood by the mass in terms of an encoder, the message and the decoder. In this paper I have tried to attempt my understanding of Stuart HallвЂ™s work. The following is a write up on Encoding/Decoding by Rini Thomas

Message encoding and decoding