Encoding and decoding is a communication theory proposed by cultural studies scholar Stuart Hall, used to analyze the processes of meaning production and reception in media communication. This theory suggests that information in communication is not simply “sent” and “received,” but goes through two important stages: “encoding” (producing meaning) and “decoding” (receiving meaning).
Encoding refers to the process by which the information transmitter transforms the message, intention, or point of view into codes that follow specific rules. Decoding refers to the process by which the information receiver interprets these codes according to certain rules.
Hall argues that when people decode television information, they may adopt one of three positions: the dominant position, the negotiated position, and the oppositional position. We can delve deeper into this theory through last year’s globally popular movie Barbie.
For encoding
Creator’s intention: Director Greta Gerwig and the screenwriters, in making Barbie, intended to explore profound social issues such as gender inequality and the search for personal identity, while using humor and entertainment to satirize consumer culture. The film follows Barbie’s character as she transitions from the “perfect world” to real society, reflecting on the complexity of gender roles and emphasizing individual value and diversity.
For decoding
- Dominant position: Some viewers fully embrace the film’s feminist themes, seeing it as a critique of the gender stereotypes in modern society, and view the movie as an empowering piece for women.
In a five-star review, the Independent’s Clarisse Loughrey said:, external “Barbie is one of the most inventive, immaculately crafted and surprising mainstream films in recent memory – a testament to what can be achieved within even the deepest bowels of capitalism.
- Negotiated position: Some viewers may acknowledge the film’s eff orts in addressing gender issues, but feel that it struggles to balance humor with narrative tension, and even question whether its commercial intent undermines the depth of artistic expression.
Peter Bradshaw from The Guardian also gave the film a lukewarm review, rating it three stars. He described Barbie as
The Guardian’s Peter Bradshaw also gave, external a lukewarm review, awarding the film three stars.
He suggested Barbie is “a good-natured but self-conscious movie” that is “occasionally very funny, but sometimes also somehow demure and inhibited, as if the urge to be funny can only be mean and satirical”.
He added: “This movie is perhaps a giant two-hour commercial for a product, although no more so than The Lego Movie, yet Barbie doesn’t go for the comedy jugular anywhere near as gleefully as that.”
- Oppositional position: Some viewers interpret the film as “anti-male” or “over-ideologized,” arguing that its treatment of gender issues overlooks the struggles men face in society.
The Daily Mail’s Sarah Vine was less keen, external on the representation of men. She wrote: “It’s a deeply anti-man movie, an extension of all that TikTok feminism that paints any form of masculinity – other than the most anodyne – as toxic and predatory…”
She concluded: “It’s uneven, disjointed, the plot makes no real sense – and the dead hand of corporate America weighs heavily upon it.”
Through Hall’s Encoding-Decoding theory, we can see that Barbie is not only a tool for the creators (the encoding team) to express their ideology, but also the starting point for a diverse decoding process by the audience. Barbie is not just a movie; it is a mirror of social ideologies, showcasing the vision for gender equality while also exposing the divisions and contradictions among audiences on this issue. This shows that the meaning of the conveyed message is not fixed, but is a multi-dimensional, interactive process dependent on culture and experience. This example reminds us that when consuming any media content, we must be cautious of a single interpretation.
Reference:
Wikipedia contributors (2024) ‘Encoding/decoding model of communication’, Wikipedia, 17 November. Available at: https://en.wikipedia.org/wiki/Encoding/decoding_model_of_communication#Dominant/hegemonic_position (Accessed: 17 November 2024).
Loughrey, C. (2023) ‘Barbie review: A wildly creative and surprisingly profound film’, The Independent, 19 July. Available at: https://www.independent.co.uk/arts-entertainment/films/reviews/barbie-film-movie-review-b2380412.html (Accessed: 17 November 2024).
Bradshaw, P. (2023) ‘Barbie review: Greta Gerwig’s delirious bubblegum fantasy’, The Guardian, 19 July. Available at: https://www.theguardian.com/film/2023/jul/19/barbie-review-greta-gerwig-delirious-bubblegum-fantasy (Accessed: 17 November 2024).
Vine, S. (2023) ‘Mother and daughter’s verdict on Barbie – “Man-hating film or bigot’s loser? My daughter totally loved it”’, Daily Mail, 18 July. Available at: https://www.dailymail.co.uk/tvshowbiz/article-12312807/SARAH-VINE-mother-daughters-verdict-Barbie-man-film-bigot-loser-daughter-totally-loved-it.html (Accessed: 17 November 2024).
