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| Acknowledgements | |
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| Introduction | |
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| The Work Of Representation | |
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| Representation, Meaning and Language | |
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| Making meaning, representing things | |
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| Language and representation | |
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| Sharing the codes | |
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| Theories of representation | |
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| The language of traffic lights | |
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| Summary | |
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| Saussure's Legacy | |
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| The social part of language | |
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| Critique of Saussure's model | |
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| Summary | |
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| From Language to Culture: Linguistics to semiotics | |
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| Myth today | |
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| Discourse, Power and the Subject | |
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| From language to discourse | |
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| Historicizing discourse: discursive practices | |
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| From discourse to power/knowledge | |
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| Summary: Foucault and representation | |
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| Charcot and the performance of hysteria | |
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| Where is 'the Subject'? | |
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| How to make sense of Velasquez' Las Meninas | |
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| The subject of/in representation | |
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| Conclusion: Representation, meaning and language reconsidered | |
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| References | |
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| Readings for Chapter One | |
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| Norman Bryson, 'Language, reflection and still life' | |
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| Roland Barthes, 'The world of wrestling' | |
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| Roland Barthes, 'Myth today' | |
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| Roland Barthes, 'Rhetoric of the image' | |
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| Ernesto Laclau and Chantal Mouffe, New Reflections on the Revolution of Our Time | |
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| Elaine Showalter, 'The performance of hysteria' | |
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| recording reality: documentary film and Television | |
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| Introduction | |
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| What do we Mean by 'Documentary'? | |
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| Non-fiction texts | |
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| Defining documentary | |
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| Types of Documentary | |
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| Categorizing documentary | |
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| Alternative categories | |
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| Ethical documentary filmmaking | |
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| Dramatization and the Documentary | |
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| Scripting and re-enactment in the documentary | |
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| Docudrama | |
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| Documentary - An historic genre? | |
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| 'Postdocumentary'? | |
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| Docusoaps | |
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| Reality TV | |
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| Natural History Documentaries | |
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| Documenting animal life | |
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| Conclusion | |
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| References | |
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| Readings for Chapter Two | |
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| Bill Nichols, 'The qualities of voice' | |
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| John Corner, 'Performing the real: documentary diversions' | |
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| Derek Bous�, 'Historia fabulosus' | |
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| The Poetics and the Politics of Exhibiting Other Cultures | |
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| Introduction | |
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| Establishing Definitions, Negotiating Meanings, Discerning Objects | |
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| Introduction | |
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| What is a 'museum'? | |
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| What is an 'ethnographic museum'? | |
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| Objects and meanings | |
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| The uses of text | |
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| Questions of context | |
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| Summary | |
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| Fashioning Cultures: The poetics of exhibiting | |
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| Introduction | |
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| Introducing Paradise | |
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| Paradise regained | |
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| Structuring Paradise | |
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| Paradise: the exhibit as artefact | |
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| The myths of Paradise | |
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| Summary | |
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| Captivating Cultures: The politics of exhibiting | |
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| Introduction | |
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| Knowledge and power | |
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| Displaying others | |
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| Museums and the construction of culture | |
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| Colonial spectacles | |
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| Summary | |
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| Devising New Models: Museums and their futures | |
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| Introduction | |
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| Anthropology and colonial knowledge | |
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| The writing of anthropological knowledge | |
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| Collections as partial truths | |
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| Museums and contact zones | |
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| Art, artefact and ownership | |
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| Conclusion | |
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| References | |
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| Acknowledgements | |
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| Readings for Chapter Three | |
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| John Tradescant the younger, extracts from Musaeum Tradescantianum | |
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| Elizabeth A. Lawrence, 'His very silence speaks: the horse who survived Custer's Last Stand' | |
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| Michael O'Hanlon, Paradise: portraying the New Guinea Highlands | |
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| James Clifford, 'Paradise' | |
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| Annie E. Coombes, 'Material culture at the crossroads of knowledge: the case of the Benin "bronzes'" | |
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| John Picton, 'To see or not to see! That is the question' | |
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| The Spectacle Of The 'Other' | |
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| Introduction | |
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| Heroes or villains? | |
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| Why does' difference' matter? | |
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| Racializing the 'Other' | |
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| Commodity racism: Empire and the domestic world | |
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| Meanwhile, down on the plantation … | |
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| Signifying racial 'difference' | |
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| Staging Racial 'Difference': 'And the melody lingered on …' | |
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| Heavenly bodies | |
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| Stereotyping as a Signifying Practice | |
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| Representation, difference and power | |
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| Power and fantasy | |
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| Fetishism and disavowal | |
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| Contesting a Racialized Regime of Representation | |
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| Reversing the stereotypes | |
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| Positive and negative images | |
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| Through the eye of representation | |
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| Conclusion | |
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| References | |
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| Readings for Chapter Four | |
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| Anne McClintock, 'Soap and commodity spectacle' | |
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| Richard Dyer, 'Africa' | |
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| Sander Gilman, 'The deep structure of stereotypes' | |
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| Kobena Mercer, 'Reading racial fetishism' | |
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| Exhibiting Masculinity | |
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| Introduction | |
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| Conceptualizing Masculinity | |
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| Plural masculinities | |
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| Thinking relationally | |
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| Invented categories | |
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| Summary | |
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| Discourse and Representation | |
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| Discourse, power/knowledge and the subject | |
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| Visual Codes of Masculinity | |
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| 'Street style' | |
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| 'Italian American' | |
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| 'Conservative Englishness' | |
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| Summary | |
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| Spectatorship and Subjectivization | |
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| Psychoanalysis and subjectivity | |
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| Spectatorship | |
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| The spectacle of masculinity | |
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| The problem with psychoanalysis and film theory | |
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| Techniques of the self | |
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| Consumption and Spectatorship | |
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| Sites of representation | |
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| Just looking | |
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| Spectatorship, consumption and the 'new man' | |
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| Conclusion | |
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| References | |
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| Readings for Chapter Five | |
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| Steve Neale, 'Masculinity as spectacle' | |
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| Sean Nixon, 'Technologies of looking: retailing and the visual' | |
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| Genre and Gender: The Case of Soap Opera | |
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| Introduction | |
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| Representation and Media Fictions | |
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| Fiction and everyday life | |
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| Fiction as entertainment | |
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| But is it good for you? | |
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| Mass Culture and Gendered Culture | |
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| Women's culture and men's culture | |
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| Images of women vs real women | |
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| Entertainment as a capitalist industry | |
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| Dominant ideology, hegemony and cultural negotiation | |
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| The gendering of cultural forms: high culture vs mass culture | |
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| Genre, Representation and Soap Opera | |
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| The genre system | |
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| The genre product | |
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| Genre and mass-produced fiction | |
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| Genre as standardization and differentiation | |
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| The genre product as text | |
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| Genres and binary differences | |
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| Genre boundaries | |
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| Signification and reference | |
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| Cultural verisimilitude, generic verisimilitude and realism | |
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| Media production and struggles for hegemony | |
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| Summary | |
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| Genres for Women: The case of soap opera | |
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| Genre, soap opera and gender | |
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| The invention of soap opera | |
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| Women's culture | |
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| Soap opera as women's genre | |
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| Soap opera's binary oppositions | |
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| Serial form and gender representation | |
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| Soap opera's address to the female audience | |
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| Talk vs action | |
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| Soap opera's serial world | |
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| Textual address and the construction of subjects | |
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| The ideal spectator | |
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| Female reading competence | |
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| Cultural competence and the implied reader of the text | |
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| The social audience | |
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| Conclusion | |
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| Soap opera: a woman's form no more? | |
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| Dissolving genre boundaries and gendered negotiations | |
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| References | |
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| Readings for Chapter Six | |
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| Tania Modleski, 'The search for tomorrow in today's soap operas' | |
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| Charlotte Brunsdon, 'Crossroads: notes on soap opera' | |
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| Su Holmes and Deborah Jermyn, 'Why not Wife Swap?' | |
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| Index | |