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Semiotics for Beginners by Daniel Chandler

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<strong>Semiotics</strong> <strong>for</strong> <strong>Beginners</strong> <strong>by</strong> <strong>Daniel</strong> <strong>Chandler</strong><br />

be 'closed texts', and because they are broadcast to heterogeneous audiences diverse decodings of<br />

such texts are unavoidable.<br />

Stuart Hall stressed the role of social positioning in the interpretation of mass media texts <strong>by</strong> different<br />

social groups. In a model deriving from Frank Parkin's 'meaning systems', Hall suggested three<br />

hypothetical interpretative codes or positions <strong>for</strong> the reader of a text (Parkin 1972; Hall 1973; Hall<br />

1980, 136-8; Morley 1980, 20-21, 134-7; Morley 1981b, 51; Morley 1983, 109-10):<br />

• dominant (or 'hegemonic') reading: the reader fully shares the text's code and accepts and<br />

reproduces the preferred reading (a reading which may not have been the result of any<br />

conscious intention on the part of the author(s)) - in such a stance the code seems 'natural'<br />

and 'transparent';<br />

• negotiated reading: the reader partly shares the text's code and broadly accepts the preferred<br />

reading, but sometimes resists and modifies it in a way which reflects their own position,<br />

experiences and interests (local and personal conditions may be seen as exceptions to the<br />

general rule) - this position involves contradictions;<br />

• oppositional ('counter-hegemonic') reading: the reader, whose social situation places them in a<br />

directly oppositional relation to the dominant code, understands the preferred reading but does<br />

not share the text's code and rejects this reading, bringing to bear an alternative frame of<br />

reference (radical, feminist etc.) (e.g. when watching a television broadcast produced on behalf<br />

of a political party they normally vote against).<br />

This framework is based on the assumption that the latent meaning of the text is encoded in the<br />

dominant code. This is a stance which tends to reify the medium and to downplay conflicting<br />

tendencies within texts. Also, some critics have raised the question of how a 'preferred reading' can<br />

be established. Shaun Moores asks 'Where is it and how do we know if we've found it? Can we be<br />

sure we didn't put it there ourselves while we were looking? And can it be found <strong>by</strong> examining any<br />

sort of text?' (Moores 1993, 28). Some theorists feel that the concept may be applied more easily to<br />

news and current affairs than to other mass media genres. David Morley wondered whether it might<br />

be the 'reading which the analyst is predicting that most members of the audience will produce'<br />

(Morley 1981a, 6). John Corner argues that it is not easy to find actual examples of media texts in<br />

which one reading is preferred within a plurality of possible readings (Corner 1983, 279). As Justin<br />

Wren-Lewis comments, 'the fact that many decoders will come up with the same reading does not<br />

make that meaning an essential part of the text' (Wren-Lewis 1983, 184). And Kathy Myers notes, in<br />

the spirit of a post-structuralist social semiotics, that 'it can be misleading to search <strong>for</strong> the<br />

determinations of a preferred reading solely within the <strong>for</strong>m and structure' of the text (Myers 1983,<br />

216). Furthermore, in the context of advertising, she adds that:<br />

There is a danger in the analysis of advertising of assuming that it is in the interests of<br />

advertisers to create one 'preferred' reading of the advertisement's message. Intentionality<br />

suggests conscious manipulation and organization of texts and images, and implies that the<br />

visual, technical and linguistic strategies work together to secure one preferred reading of an<br />

advertisement to the exclusion of others... The openness of connotative codes may mean that<br />

we have to replace the notion of 'preferred reading' with another which admits a range of<br />

possible alternatives open to the audience. (Myers 1983, 214-16)

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