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Encoding/decodingmodelofcommunication
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TheEncoding/decodingmodelofcommunicationwasfirstdevelopedbyculturalstudiesscholarStuartHallin
1973.Titled'EncodingandDecodingintheTelevisionDiscourse,'Hall'sessayoffersatheoreticalapproachofhow
mediamessagesareproduced,disseminated,andinterpreted.[1]AsafounderoftheBirminghamSchoolof
CulturalStudies,Hallhashadamajorinfluenceonmediastudies.HismodelclaimsthatTVandothermedia
audiencesarepresentedwithmessagesthataredecoded,orinterpretedindifferentwaysdependingonan
individual'sculturalbackground,economicstanding,andpersonalexperiences.Incontrasttoothermediatheories
thatdisempoweraudiences,Halladvancedtheideathataudiencememberscanplayanactiveroleindecoding
messagesastheyrelyontheirownsocialcontexts,andmightbecapableofchangingmessagesthemselves
throughcollectiveaction.Insimplerterms,Encoding/decodingisthetranslationofamessagethatiseasily
understood.Whenyoudecodeamessage,youareextractingthemeaningofthatmessageintotermsthatyouare
abletoeasilyunderstand.Decodinghasbothverbalandnonverbalformsthroughcommunication.Decoding
behaviorwithoutusingwordswouldbeobservingbodylanguage.Peopleareabletodecodebodylanguagebased
ontheiremotions.Forexample,somebodylanguagesignsforwhensomeoneisupset,angry,orstressedwouldbe
auseofexcessivehand/armmovements,redintheface,crying,andevensometimessilence.Sometimeswhen
someoneistryingtogetamessageacrosstosomeone,themessagecanbeinterpreteddifferentlyfrompersonto
person.Decodingisallabouttheunderstandingofwhatsomeonealreadyknows,basedontheinformationgiven
throughoutthemessagebeingreceived.Whetherthereisalargeaudienceorexchangingamessagetooneperson,
decodingistheprocessofobtaining,absorbing,understanding,andsometimesusingtheinformationthatwas
giventhroughoutaverbalornonverbalmessage.

Forexample,sinceadvertisementscanhavemultiplelayersofmeaning,theycanbedecodedinvariouswaysand
canmeansomethingdifferenttodifferentpeople.[2]Hallclaimsthatthedecodingsubjectcanassumethree
differentpositions:Dominant/hegemonicposition,negotiatedposition,andoppositionalposition.

"Thelevelofconnotationofthevisualsign,ofitscontextualreferenceandpositioningindifferent
discursivefieldsofmeaningandassociation,isthepointwherealreadycodedsignsintersectwiththe
deepsemanticcodesofacultureandtakeonadditionalmoreactiveideologicaldimensions."

StuartHall,1980,"Encoding/decoding."[3]

Contents
1 Definition
2 Applicationofmodel
3 Dominant/hegemonicposition
4 Negotiatedposition
5 Oppositionalposition
6 Theencoding/decodingmodelcritique
7 Seealso
8 References

Definition
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Theencodingofamessageistheproductionofthemessage.Itisasystemofcodedmeanings,andinorderto
createthat,thesenderneedstounderstandhowtheworldiscomprehensibletothemembersoftheaudience.

Intheprocessofencoding,thesender(i.e.encoder)usesverbal(e.g.words,signs,images,video)andnonverbal
(e.g.bodylanguage,handgestures,faceexpressions)symbolsforwhichheorshebelievesthereceiver(thatis,the
decoder)willunderstand.Thesymbolscanbewordsandnumbers,images,faceexpressions,signalsand/or
actions.Itisveryimportanthowamessagewillbeencodeditpartiallydependsonthepurposeofthemessage.[4]

Thedecodingofamessageishowanaudiencememberisabletounderstand,andinterpretthemessage.Itisa
processofinterpretationandtranslationofcodedinformationintoacomprehensibleform.Theaudienceistrying
toreconstructtheideabygivingmeaningstosymbolsandbyinterpretingthemessageasawhole.Effective
communicationisaccomplishedonlywhenthemessageisreceivedandunderstoodintheintendedway.However,
itisstillpossibleforthemessagerecipienttounderstandamessageinacompletelydifferentwayfromwhatwas
theencoderwastryingtoconvey.Thisiswhen"distortions"or"misunderstanding"arisefrom"lackof
equivalence"betweenthetwosidesincommunicativeexchange.[4]

Inhisessay,[1]Hallcomparestwomodelsofcommunication.Thefirst,thetraditionalmodeliscriticizedforits
linearitysender/message/receiverandforitslackofstructuredconceptionofvariousmomentsasacomplex
structureofrelations.Theauthorproposestheideathatthereismoretotheprocessofcommunicationand,thus,
advancesafourstagemodelofcommunicationthattakesintoaccounttheproduction,circulation,useand
reproductionofmediamessages.Incontrasttothetraditionallinearapproachofthesenderandreceiver,he
perceiveseachofthesestepsasbothautonomousandinterdependent.Hallfurtherexplainsthatthemeaningsand
messagesinthediscursive"production"areorganizedthroughtheoperationofcodeswithintherulesof
"language.""Eachstagewillaffectthemessage(or"product")beingconveyedasaresultofits'discursiveform'
(e.g.practices,instruments,relations)."[1]Therefore,oncethediscourseisaccomplished,itmustbetranslatedinto
socialpracticesinordertobecompletedandeffective"Ifno'meaning'istaken,therecanbeno'consumption'."
Eachofthesestepshelpsdefinestheonethatfollows,whileremainingclearlydistinct.[1]Thus,eventhougheach
ofthesemoments(stages)areequallyimportanttotheprocessasawhole,theydonotcompletelyensurethatthe
followingmomentwillnecessaryhappen."Eachcanconstituteitsownbreakorinterruptionofthe'passageof
forms'onwhosecontinuitytheflowofeffectiveproduction(i.e.reproduction)depends."[1]

Thesefourstagesare:[1]

1.ProductionThisiswheretheencoding,theconstructionofamessagebegins.Productionprocesshasits
own"discursive"aspect,asitisalsoframedbymeaningsandideasbydrawinguponsociety'sdominant
ideologies,thecreatorofthemessageisfeedingoffofsociety'sbeliefs,andvalues.Numerousfactorsare
involvedintheproductionprocess.Ononehand"knowledgeinuseconcerningtheroutinesofproduction,
technicalskills,professionalideologies,institutionalknowledge,definitionsandassumptions,assumptions
abouttheaudience"[1]formthe"productionstructuresofthetelevision."[1]Ontheotherhand,"topics,
treatments,agendas,events,personnel,imagesoftheaudience,definitionsofthesituation'fromother
sourcesandotherdiscursiveformations"[1]formtheotherpartofwidersocioculturalandpoliticalstructure.
2.CirculationHowindividualsperceivethings:visualvs.written.Howthingsarecirculatedinfluenceshow
audiencememberswillreceivethemessageandputittouse.AccordingtoPhilipElliotttheaudienceisboth
the"source"andthe"receiver"ofthetelevisionmessage.Forexample,circulationandreceptionofamedia
messageareincorporatedintheproductionprocessthroughnumerous"feedbacks."Socirculationand
perception,althoughnotidentical,arecertainlyrelatedtoandinvolvedintotheproductionprocess.
3.Use(distributionorconsumption)Foramessagetobesuccessfully"realized","thebroadcastingstructures
mustyieldencodedmessagesintheformofameaningfuldiscourse."[1]Thismeansthatthemessagehasto
beadoptedasameaningfuldiscourseandithastobemeaningfullydecoded.However,the
decoding/interpretingofamessagerequiresactiverecipients.

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4.ReproductionThisstageisdirectlyafteraudiencemembershaveinterpretedamessageintheirownway
basedontheirexperiencesandbeliefs.Thedecodedmeaningsaretheoneswith"aneffect"(e.g.influence,
instruct,entertain)with"verycomplexperceptual,cognitive,emotional,ideologicalorbehavioral
consequences."[1]Whatisdonewiththemessageafterithasbeeninterpretediswherethisstagecomesin.
Atthispoint,youwillseewhetherindividualstakeactionaftertheyhavebeenexposedtoaspecific
message.

Encodinganddecodingofbroadcaststructures

Sincediscursiveformplayssuchanimportantroleinacommunicativeprocess,Hallsuggeststhat"encoding"and
"decoding"are"determinatemoments."[1]Whathemeansbythatisthatanevent,forexample,cannotbe
transmittedinits"rawformat."Apersonwouldhavetobephysicallyattheplaceoftheeventtoseeitinsuch
format.Rather,hestatesthateventscanonlybetransportedtotheaudienceintheaudiovisualformsoftelevisual
discourse(thatis,themessagegoestoprocessesofproductionanddistribution).Thisiswhentheother
determinantmomentbeginsdecoding,orinterpretationoftheimagesandmessagesthroughawidersocial,
cultural,andpoliticalcognitivespectrum(thatis,theprocessesofconsumptionandreproduction).

"Theeventmustbecomea'story'beforeitcanbecomeacommunicativeevent."

StuartHall,1980,"Encoding/decoding"[1]

Applicationofmodel
ThismodelhasbeenadoptedandappliedbymanymediatheoristssinceHalldevelopedit.Hall'sworkhasbeen
centraltothedevelopmentofculturalstudies,andcontinuestodaybecauseoftheimportanceofdecoding.Cultural
Studiesstartedchallengingthemainstreammediaeffectsmodelsin1960.Themainfocuswashowaudience
membersmakemeaningsandunderstandrealitythroughtheiruseofculturalsymbolsinbothprintandvisual
media.[5]Itisimportanttolookatculturalresearchbecauseitsfocusondailyexperiences,lookingatrace,gender,
classandsexualityallhelpbringmeaningtotheworldweliveintoday.TheoristssuchasDickHebdige,David
Morley,andJaniceRadwayhavebeenheavilyinfluencedbyHall,andappliedhistheorytohelpdeveloptheir
own:

HebdigewasaBritishculturalandcriticscholarthatstudiedunderHallattheBirminghamSchoolofCultural
Studies.HismodelbuildsfromHall'sideaofSubculture.HeismostknownforhisinfluentialbookSubculture:
TheMeaningofStylewherehearguesthatyoungergenerationsarechallengingdominantideologiesby
developingdistinctstylesandpracticesthatmanifesttheirseparateidentity,andsubversions.Hisexplorationofthe
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punksubcultureoutlinesthepotentialcausesandinfluencesofthepunkmovement,especiallyfortheyouth.His
extensivestudyonsubculturesanditsresistanceagainstmainstreamsocietyshowedthatthepunksubcultureused
commodificationtodifferentiatethemselvesfrom,orbecomeacceptedby,themainstream.<Hebdigebelievedthat
punkwasincorporatedintothemediainanattempttocategorizeitwithinsociety,andhecriticallyexaminesthis
issuebyapplyingHall'stheoryofencodinganddecoding.

DavidMorleyisasociologistwhostudiesthesociologyofthetelevisionaudience.Knownforbeingakey
researcherinconductingTheNationwideProjectinthelate1970s,Morleytookthispopularnewsprogramthat
aireddailyonBBC.ItreportedonnationalnewsfromLondonandthemajoreventsoftheday,andwasbroadcast
throughouttheUK.HeappliedHall'sreceptiontheorytostudytheencoding/decodingmodelofthisnews
program.Thisstudyfocusedonthewaysthisprogramaddressedtheaudiencememberandtheideologicalthemes
itpresented.Morleythentookitastepfurtherandconductedaqualitativeresearchthatincludedindividualswith
varyingsocialbackgrounds.ThiswaswhereHall'sresearchcameintoplay.Hewantedtoseehowtheywould
reacttocertainclipsoftheprogrambasedonHall'sthreedecodingmethods:dominant/hegemonic,negotiated,or
oppositional.

JaniceRadway,anAmericanliteracyandculturalstudiesscholar,conductedastudyonwomenintermsof
romancereading.InherbookReadingtheRomance:Women,PatriarchyandPopularLiteratureRadwaystudieda
groupofmidwesternwomenthatwerefansofromancenovels.Shearguedthatthisculturalactivityfunctionedas
personaltimeforwomenthatdidn'ttypicallyhaveanypersonaltimetothemselves.[5]Althoughherworkwasnot
seenasscientific,andherstudyappliedonlytoasmallgroupofwomen,shewasinterestedininterpretinghow
womencouldrelatetheireverydaylifetoafictionbook.[5]Asaresult,herstudydemonstratedthatthesestudies
definecultureinverybroadterms,becauseintheendcultureismadeupofthesymbolsofexpressionthatsociety
usestomakesenseofeverydaylife.[5]Radway'saudienceresearchworkedoffofHall'stheoryof
encoding/decoding.Studyinghowspecificindividualsreceiveandinterpretmessagesbasedontheirbackgrounds
wassomethingthatplayedahugeroleinRadway'sstudyonwomen.Somewomenrelatedtothebookandsome
identifiedasthoughtheywerecharactersinthebookbutthemeaning,dependentupontheirbackgrounds,
identitiesandbeliefs,circulateswithinsocietyandisreinforcedbyHall'stheoryofencoding/decoding.

Dominant/hegemonicposition
CommunicationtheoristStuartHallarguesthattherearethreepositionsthatpeoplemaytakeupondecodinga
televisionmessage.Hearguesthreedifferentpositionsbecause"decodingsdonotfollowinevitablyfrom
encodings.[6]"Thus,justbecauseamessageisencodedontelevisioninaparticularway,itdoesnotmeanitwillbe
decodedinitsintendedformat.ThislaysthefoundationforHall'shypotheticalpositionsheneedsmultiple
positionsbecausetherearemultipleinterpretationsthatcouldoccur.Thesepositionsareknownasthedominant
hegemonicposition,thenegotiatedposition,andtheoppositionalposition.

Thefirstpositionthathediscussesisthedominanthegemoniccode.Thiscodeorpositionisonewherethe
consumertakestheactualmeaningdirectly,anddecodesitexactlythewayitwasencoded.Forinstance,political
andmilitaryelitesprimarilygeneratedthepoliticsofNorthernIrelandandtheChileanCoup.Theseelitescreated
the"hegemonicinterpretations"[7]Becausetheseideaswerehegemonicinterpretations,theybecamedominant.
Halldemonstratesthatifaviewerofanewscastonsuchtopicsdecodedthemessage"intermsofthereference
codeinwhichithasbeenencoded"thattheviewerwouldbe"operatinginsidethedominantcode"[8]Thus,the
dominantcodeinvolvestakingtheconnotativemeaningofamessageintheexactwayasenderintendedamessage
tobeinterpreted(encoded).Underthisframework,theconsumerislocatedwithinthedominantpointofview,and
isfullysharingthetextscodesandacceptsandreproducestheintendedmeaning.Here,thereisbarelyany

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misunderstandingbecauseboththesenderandreceiverhavethesameculturalbiases.[9]Thismeansthatthe
intendedmessagewascreatedbythedominantclassandthattherecipientwasalsoapartofthedominantpointof
view.

AmoderndayexampleofthedominanthegemoniccodeisdescribedbycommunicationscholarGarrett
Castleberryinhisupcomingarticle"UnderstandingStuartHall's'Encoding/Decoding'ThroughAMC'sBreaking
Bad".Castleberryarguesthatthereisadominanthegemonic"positionheldbytheentertainmentindustrythat
illegaldrugsideeffectscauselessdamagethanperceived".Ifthisisthedominantcodeandtelevisionshowslike
BreakingBadsupportsuchperceptions,thentheyareoperatingwithinthedominantcode[10]Likewise,aviewer
believingsuchperceptionswillalsobeoperatingwithinthedominanthegemoniccodesincetheyareencodingthe
messageinthewayitisintended.

Negotiatedposition
Anotherhypotheticalpositionisthenegotiatedposition.Thispositionisamixtureofacceptingandrejecting
elements.Readersareacknowledgingthedominantmessage,butarenotwillingtocompletelyacceptthemessage
thewaytheencoderintended.Thereadertoacertainextent,sharesthetextscodeandgenerallyacceptsthe
preferredmeaning,butissimultaneouslyresistingandmodifyingitinawaywhichreflectstheirownexperiences
andinterests.

Hallexplainsthiswhenhestates"decodingwithinthenegotiatedversioncontainsamixtureofadaptiveand
oppositionalelements:itacknowledgesthelegitimacyofthehegemonicdefinitionstomakethegrand
significations(abstract),while,atamorerestricted,situational(situated)level,itmakesitsowngroundrulesit
operateswithexceptionstotherule".[1]Basically,thismeansthatpeopleunderstandthedominantposition,they
generallybelievetheposition,buttheyareinasituationwheretheymustmakeuptheirownseparaterulesto
coexistwiththedominantposition.HallprovidesanexampleinvolvinganIndustrialRelationsBill.Inhis
example,heshowshowafactoryworkermayrecognizeandagreewiththedominantpositionthatawagefreezeis
beneficial.However,whiletheworkermayrecognizethatthewagefreezeisneeded,theymaynotbewillingto
partakeinawagefreezesinceitwilldirectlyaffectthemratherthanothers[11]Hisexampledemonstratesthat
peoplemaynegotiateacodetoworkaroundtheirownbeliefsandselfinterests.Thiscodeisverymuchbasedon
context.

Oncemore,Castleberrydemonstratesthenegotiatedcodeatplayinamoderndaytelevisionshow.In"Breaking
Bad,"Walter,themaincharacterhadadivorce,andmanyviewershadnegotiated"anacceptanceofWalter'ssins,
whilecommunicatingnegativediscourseconcerningSkylar[hiswife]".Thisnegativediscourse,accordingtothe
actorwhoplayedWalter'swifewasbecausehercharacter,Skylardidnotfitwhatwasexpectedofawife.This
expectationcouldbeseenasadominantcode.Inaddition,Walter'sactionswereagainstthedominantcode.
Becauseoftheseconflictingdominantcodes,Castleberryimpliesthatmanyviewersnegotiatedtheirowncode
whereWalter'sactionswereacceptedduetoSkylar'sroleasanuntraditionalwife.[10]

Oppositionalposition
Lastly,thereistheoppositionalpositionorcode.Hallsummarizesthataviewercanunderstandtheliteral
(denotative)andconnotativemeaningsofamessagewhiledecodingamessageinagloballycontraryway.This
meansthatapersonrecognizesthattheirmeaningisnotthedominantmeaning,orwhatwasintended,butalters
themessageintheirmindtofitan"alternativeframeworkofreference"[12]Thus,readers'orviewerssocial
situationhasplacedtheminadirectlyoppositionalrelationshiptothedominantcode,andalthoughthey
understandtheintendedmeaningtheydonotsharethetext'scodeandenduprejectingit.Again,thiscodeisbased
verymuchonexperiences.One'spersonalexperienceswilllikelyinfluencethemtotakeontheoppositional
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positionwhentheyencodehegemonicpositions.Highlypoliticaldiscourseemergesfromtheseoppositionalcodes
as"eventswhicharenormallysignifiedanddecodedinanegotiatedwaybegintobegivenanoppositional
reading."[13]

Theencoding/decodingmodelcritique
Ross[14]suggeststwowaystomodifyHall'stypologyoftheEncoding/DecodingModelbyexpandingtheoriginal
version.[1]Whilepresentingthemodifiedtypology,Rossstressesthathissuggestedversiondoesn'timplyto
replacetheoriginalmodelbutrathertoexpanditandtoletthemodelworkinanewway.Furtheristhe
explanationofoneofthealternativemodelssuggestedbyRoss,[14]whichisamorecomplextypologyconsisting
ofninecombinationsofencodinganddecodingpositions(Figure1andFigure2).Thereasonswhytheoriginal
modelneedstoberevisitedandthealternativemodeldescriptiontofollow.

InlinewithpreviousscholarshipcriticizingHall'smodel,Ross[14]andMorley[15]arguethatthemodelhassome
unsolvedproblems.First,Morleymentionsthatinthedecodingstagethereisaneedtodistinguishcomprehension
ofthetextanditsevaluation.Comprehensionherereferstothereader'sunderstandingofthetextinthebasicsense
andthesender'sintention,andtopossiblereadersinterpretationsofthetext(borrowedfromSchroder[16]).
Evaluationishowreadersrelatethetexttotheideologicalposition(alsoborrowedfromSchroder[16]).

Second,Morley[15]discussestheproblemofunderstandingtheconceptofoppositionalreading'.Theremightbe
confusionbetweenreferringoppositionalreading'torejectingthepreferredmeaning(dominantideology)andto
disagreementwiththetext.Forexample,imaginethatanoppositionalTVchannelproducedanewsstoryabout
someflawsintheObamaCare.Accordingtotheoriginalmodel,areadercanfullysharethetext'scodeandaccept
itsmeaning,orrejectitandbringanalternativeframeofit.Inthefirstcaseneverthelessareaderfullyagreeswith
thetext,s/hewouldbeinoppositiontothedominantideology(weunderstanddominantideologyhereas
promotinggovernmentinitiatives),whileinthesecondcasebydisagreeingwiththenewsstoryareaderwould
actuallyfavordominantideology.Thatleadstothefinalproblemoftheoriginalmodelassumingthatallthe
mediaencodetextswithinthedominantideologyandthussuggestingthatmediaishomogeneousinnature.[14]

Inordertoaddresstheseproblems,Ross[14]suggeststwostepsinmodifyingtheoriginalmodel.Thefirststepisto
distinguishbetweenthegraphicalmodelandthetypology,whichisdifferentdecodingpositions(dominant
hegemonic,negotiated,andoppositional).Thesecondstepistodividethemodelintotwoversions,anideology
version(Figure1)andatextrelatedversion(Figure2).

Figure1.Themodifiedencoding/decodingtypology(ideologyversion)[14]

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ENCODINGPOSITIONS
Dominanthegemonic Negotiated
Oppositionalencoding
encoding Encoding
(aradicaltext)
(Hall'sassumedmode) (partlycriticaltext)

Dominanthegemonic Dominanthegemonic Dominanthegemonic

Dominant reading reading
reading
hegemonic
ofdominanthegemonic ofnegotiatedtext ofoppositionaltext
position
text =Neutralization =Neutralization

DECODING Negotiatedreading
Negotiatedreading Negotiatedreading
POSITIONS Negotiated
ofdominanthegemonic
position ofnegotiatedtext ofoppositionaltext
(ideological) text

Oppositionalreading Oppositionalreading
Oppositionalreading
ofnegotiatedtext ofoppositionaltext
Oppositional
ofdominanthegemonic
position
text =Amplificationof =Agreementwith
critique oppositionaltext

ThemainadditiontobothnewtypologiesofHall'smodelisaddingtwotypesofencodingmeanings,whicharea
NegotiatedpositionandanOppositionalposition.Astheoriginalmodelmakesallmediainstitutionsencode
messagesinthedominanthegemonicmanner,[1]Ross[14]takesastepfurtherandallow'mediainstitutionsto
encodetextsaccordingtotheoppositionalornegotiatedframework.Thus,mediatextsinbothHall'sversionscan
bedominanthegemonic(Hall'sassumedmode),partlycriticalorradical.

AnotheradditiontotheoriginalmodelistheappearanceofaNeutralizationcategorymeaningthatmediatexts
encodedwithinanoppositionalornegotiatedframeworkaredecodedaccordingtothedominantideology.Let's
lookattheupperrightcorneroftheRossideologyversion(Figure1)atthecellwhenaradicaltextintersectswith
adominanthegemonicdecodingposition.Forexample,neutralizationwillhappenifaTVnewsreportconveying
amessageaboutanoppositionalpoliticalpartyinRussiamaybeinterpretedbyaconservativeviewerasan
evidenceoftheUSsponsorshipofantigovernmentorganizationsunderlyingRussianindependency.Let'snow
lookatthelowerrightcornerofthesameversionatthecellwhenaradicaltextisdecodedbyviewerswithinan
oppositionalposition.Inthiscaseoppositionalreadingofoppositionaltext'needsexplanationthatitequalstothe
"agreementwithoppositionaltext"asreaderstextevaluationmightcausemisunderstanding.

Figure2.Themodifiedencoding/decodingtypology(textrelativeversion)[14]

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ENCODINGPOSITIONS
Negotiated
Dominanthegemonic Oppositional
Encoding
encoding encoding
(partlycritical
(Hall'sassumedmode) (aradicaltext)
text)

Textacceptance
Textaccepting Textacceptance Textacceptance
ofdominanthegemonic
position ofnegotiatedtext ofoppositionaltext
text

Text
DECODING Negotiationof Negotiationof Negotiationof
negotiation
POSITIONS
dominanthegemonictext negotiatedtext oppositionaltext
position
(textrelative)
Textoppositional Textoppositional Textoppositional
Text
oppositional readingofdominant readingof readingofoppositional
hegemonic negotiated text
position
text text =Neutralization

Inordertoavoidmisinterpretationsandtomakeanalternativetypologymorereaderfriendly,Rosssuggestsatext
relativeversionthatstressesnottheideologicaltendencyofthetext,butratherifreceiversareinagreementor
oppositionwithanykindoftext.[14]InthisversionRosschangedtheterm'dominanthegemonic'totext
acceptance'andtheterm'oppositional'totextoppositional'inordertoremindreadersthedifferencebetween
oppositiontothedominantideologyandoppositiontothetext.

InthetextrelativeversionaNeutralizationcategorymovedtothelowerrightcellwhilesavingitsmeaning.
Neutralizationmeansapplyingdominantideologytotheradicaltextorrejectingoppositionaltexts.

Toconclude,whileHall'sEncoding/Decodingmodelofcommunicationishighlyevaluatedandwidelyusedin
research,ithasbeencriticisedasitcontainssomeunsolvedproblems.Thissectiondiscussedsomeflawsinthe
originalmodelsummarizedbyRoss[14]andintroducedoneofthealternativewaystomodifyHall'stypology.

Seealso
Aberrantdecoding

References
1.Hall,S.(1980).Encoding/decoding.Culture,media,language,128138.Retrievedfrom:
http://www.hu.mtu.edu/~jdslack/readings/CSReadings/Hall_EncodingnDecoding.pdf
2.Kelly,Aidan,KatrinaLawlor,andStephanieO'Donohoe."Chapter8EncodingAdvertisements:TheCreative
Perspective."TheAdvertisingandConsumerCultureReader.ByJosephTurowandMatthewP.McAllister.NewYork:
Routledge,2009.13349.

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3.InStuartHall,DorothyHobson,AndrewLove,andPaulWillis(eds.),Culture,Media,Language,pp.12838.London:
Hutchinson,1980.InStuartHall,MeenakshiGigiDurhamandDouglasM.Kellner,Eds.(2001)."Encoding/Decoding".
MediaAndCulturalStudies:Keyworks:171.Externallinkin|journal=(help)
4.Bankovic,M.(2013).Businesscommunication:script.Retrievedfrom:
http://www.vts.edu.rs/images/nastava/PoslovneKomunikacije/POSLOVNE_KOMUNIKACIJEskripta.pdf
5.Campbell,Richard.Media&Culture:AnIntroductiontoMassCommunication.3rded.Boston:Bedford/St.Martin's,
2003.
6.MediaandCulturalStudies(KeyWorksinCulturalStudies)EditedbyDurhamandKeller.WrittenbyStuartHall.p.171
7.MediaandCulturalStudies(KeyWorksinCulturalStudies.EditedbyDurhamandKeller.WrittenbyStuartHall.p.171.
8..MediaandCulturalStudies(KeyWorksinCulturalStudies.EditedbyDurhamandKeller.WrittenbyStuartHall.
9."AudiencesandReceptionTheory."(http://juliemartin.org/juliemartinaudiencesreception.pdf)JulieMartin:Community
Manager/AnimatriceDeCommunaute.2007.
10..UnderstandingStuartHall's'Encoding/Decoding'ThroughAMC'sBreakingBadForthcomingCommunicationBasics
forMillennials:EssaysonCommunicationTheoryandCulture.Roberts,K,&Hickly,J.(Eds.).NewYork:PeterLang.
p.90.Retrievedfrom
http://www.academia.edu/16236006/_Understanding_Stuart_Halls_Encoding_Decoding_Model_through_TVs_Breaking_Bad_In_
11..MediaandCulturalStudies(KeyWorksinCulturalStudies.EditedbyDurhamandKeller.WrittenbyStuartHall.p.172
12..MediaandCulturalStudies(KeyWorksinCulturalStudies.EditedbyDurhamandKeller.WrittenbyStuartHallp.173
13.MediaandCulturalStudies(KeyWorksinCulturalStudies.EditedbyDurhamandKeller.WrittenbyStuartHallp.173
14.Ross,S.(2011,May25th).Theencoding/decodingmodelrevisited:AnnualMeetingoftheInternationalCommunication
Association.Boston,MA.
15.Morley,D.(2006).Unansweredquestionsinaudienceresearch.CommunicationReview9(2),101121.
16.Schrder,K.(2000).Makingsenseofaudiencediscourses:Towardsamultidimensionalmodelofmassmediareception.
EuropeanJournalofCulturalStudies3(2),233258.

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