By John Fiske
The second one version of this popular introductory textbook updates the paintings to take debts of advancements within the previous few years. John Fiske's learn equips the reader with various tools of analysing examples of conversation in our society, including a severe expertise of the theories underpinning them. The reader can be in a position to tease out the latent cultural meanings in such it sounds as if easy communications as information photographs or well known television programmes.
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Additional resources for Introduction to Communication Studies (Studies in Culture and Communication)
Sample text
So what the editor did was to balance this picture with another one and to surround it with words (plate 1b). The headlines push our understanding of who were the aggressors and who were the victims back towards the conventional. ‘CONFRONTATION’ suggests that the balance of aggression was at least equal. ‘Demo blacks clash with London police’ pushes the balance firmly over to the blacks, as does the picture of the injured policeman. The editor has given the original picture a context that makes it fit better into conventional attitudes and beliefs.
Saying ‘Hello’ in the street is sending a highly redundant message. But there are no communication problems to solve. There is no noise; I do not wish to put over an entropic content; the audience is receptive. I am engaging in what Jakobson (see below) calls phatic communication. By this, he refers to acts of communication that contain nothing new, no information, but that use existing channels simply to keep them open and usable. In fact, of course, there is more to it than that. What I am doing in saying ‘Hello’ is maintaining and strengthening an existing relationship.
Mine will be broadly the same as yours, though there may be some individual differences. This shared concept then relates to a class of objects in reality. This is so straightforward as to seem obvious, but there can be problems. My wife and I, for example, frequently argue over whether something is blue or green. We share the same language, we are looking at the same piece of external reality: the difference lies in the concepts of blueness or greenness that link our words to that reality. Peirce Peirce (1931–58) and Ogden and Richards (1923) arrived at very similar models of how signs signify.