Untitled - Memorial University of Newfoundland

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women share II. universal set ofexperiences or any essentially 'female' understanding or worldview. Rather, we understand gender itselfto be constructed through the social relations ofpanicular communities. We assume. therefore. that women's experiences. material cireumstances. and understandings - hence women's identities - vary from culture to culture, community to community, and individual to individual (Radner on
To reduce the process ofcognition and meaning-making within popular culture to a simplistic blnary opposition between acceptance and rejection. Janice Radway commented, was "to petrify the human act ofsignification. to ignore the fact that comprehension is actually a process ofmaking meaning. a process ofsign production where the reader actively attributes significance to signifiers on the basis ofpreviously learned cultural codes" (R.adway: 7). In Radway's ethnography of women romance no\'el readers, she demonstrated that the ideology within popular culture could be interpreted in a multitude of ways, and, much like Barthes polysemic codes (Barthes: passim), was not quite as simple as a polar rejectiOn/acceptance dynamic ofthe industrial patriarchal hegemony. Radner and Lanser offered a different paradigm. They likewise offered a tripartite schema. but in this case the emphasis is not on the text. but on the cultural producer- the encoder. Just as Hall subdivided his schema into connotative and denotative codes. Radner and Lanser divided their schema into complicit, explicit, and implicit codes. The authors recognized complicit coding as those culturally agreed upon code words and symbols as identity signifiers. We require some emic knowledge to understand that any kind ofcoded message is there at aU (Radner and Lanser: 5). Explicit coding. on the other hand. is evident even to those who do not understand the coded message (Radner and Lanser: 5). "In complicit coding. an unwining receiver has no idea an act ofcoding is taking place; in explicit coding. any receiver knows the code exists. even if she or he ideological control is thought to be all-pervasive and complete as a consequence ofthe ubiquity of mass culture itselfand of the power ofindividual anifacts or texts over individuals who can do nothing but ingest them" (Radway: 6). 205
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St. John's An Ethnography ofSeeing,
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ACKNOWLEDGMENTS: The 1997 David Buc
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the focus and drive with which to c
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CHAPTER ONE INTRODUcnON: PoPULAR FI
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perspectives. FOLKLORE AND POPULAR
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people at the same time (Thompson:
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dealing with feature films or telev
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literatUre" debates to discussions
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10 be almost meaningless. "Sayer ar
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Deliverance (1974) (in both cases.,
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to scare and to warn; the same seem
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one of the animators later recalled
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texts in small group contexts" (Nar
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One ofthe common sites which folklo
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actually cited to me as culturally
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CHAPTER Two "You DoN'T HAVE TO BE F
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Jewish Film Festival). In 1992, obv
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people in offofthe streets. We were
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Half the respondents identified tha
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angles they take, the questions the
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One ofmy original questions on begi
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Zukennan, It actually-this is the a
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members themselves. The films at th
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eversal is that sucb rites an: the
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celebrations (Stoeltje, 1992: 265;
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1997 Toronto Jewish Film Festival).
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(Starn: 254}J9. As Zukerman notes,
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esearch on a celebration ofJewish f
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on the topic or"Israeli" cinema l3
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Ruby, another ofmy expen practition
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When Mark identified "neurotic self
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Debbie: I think that Jewish bumour
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Barbara: That's what I meant. - Now
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volwne, MediIJ Sense, the authors p
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and ofpurely subjective response ar
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come as no surprise then to discove
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perspective on some ofthese issues,
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Page 170: phenomenology, on the olher hand, t
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Page 244: Holocaust The family vacating their
Page 249: CONCLUSION Decoding ofJewish discou
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Page 265: iblical informs [director Sidney] L
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Talmud is the adage, even used as t
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would make him out to be, Issy has
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To be sure, Duddy Kravitz is a nega
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the other attributes identified. do
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testimony to the Holocaust We read
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governor ofNew Jersey, mandated spe
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cultures. The problem is that all c
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emotional mush; sugary banality" (R
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-. 1984. "Introduction: Cultural Pe
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and Jack Klugman. ParamounL 105 min
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Untitled - Memorial University of Newfoundland

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