Stuart Hall’s theory of encoding and decoding explains how media messages are created (encoded) and how the audiences interpret (decode) them. The theory highlights how communication is not one way and how people interpret media differently. According to Hall’s theory, there are three ways of decoding media: dominant (accepting media as intended by the encoder), negotiated (reinterprets parts of the media but partly agrees), and oppositional (rejects the intended meaning and interprets in a completely different way).
An example of Hall’s theory at play is the popular musical Hamilton (2015), created by Lin Manuel Miranda. Hamilton is a biographical musical taking the audience on the journey of the Founding Fathers of America, specifically Alexander Hamilton, the American Revolution and the early political history of the United States.
Encoding:
The musical is encoded with themes of hope, ambition, perseverance and resilience. The story of the immigrant experience is one that Miranda can resonate with, perhaps behind his inspiration for creating the musical. The diverse cast represents the Founding Fathers and how early immigration shaped the foundations of the United States. The musical challenges traditional narratives by highlighting the contributions of immigrants and people of colour to American history.
Decoding:
Dominant – an audience decoding the musical in a dominant way would agree that it is a revolutionary piece of theatre and appreciate it through a modern and inclusive lens. This type of audience would interpret the musical in the way that Lin Manuel Miranda intended, seeing it as a story of hope and a celebration of freedom and democracy. In addition, they would also appreciate the spectacle of the show and all features of the choreography, music and songs.
Negotiated: A negotiated understanding of Hamilton would mean that the audience partly agrees with the message but reinterprets certain elements. For example, they may appreciate the innovative storytelling and enjoy the musical itself. However, as it is based on such a controversial topic, they may disagree with the more profound social commentary and may dispute the way in which the issues are presented.
Oppositional: In contrast, people with an oppositional view of the musical would entirely reject the intended meaning behind it. They may argue it glorifies problematic historical figures, such as King George III, and oversimplifies the complexities of the founding of America. In addition, the Schuyler family in real life were some of the largest slaveholders in New York City at the time, a theme that the musical fails to recognise but instead romanticises the Schuyler sisters as love interests of Alexander Hamilton.
Broadway Inbound, 2023. Why the themes of Hamilton resonate with audiences everywhere. Available at: https://www.broadwayinbound.com/blog/why-the-themes-of-hamilton-resonate-with-audiences-everywhere [Accessed 11 November 2024].
McCarter, J. Miranda, LM. Hamilton: The Revolution. Atlantic Monthly Press. Available at: https://books.google.co.uk/books?id=wPqoDAAAQBAJ [Accessed 11 November 2024].
Monteiro, LD. Race Conscious Casting and the Erasure of the Black Past in Lin-Manuel Miranda’s Hamilton. The Public Historian. Vol.38 (Issue 01) pp. 89-98. Available at https://www.jstor.org/stable/26420757 [Accessed 11 November 2024].
