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].
Hello Paloma,
Your analysis of Hamilton through Stuart Hall’s encoding and decoding theory is accurately mentioned. The musical is encoded with messages of hope, resilience, and immigration and how these themes resonate differently with various audiences. As you pointed out, the notion of dominant decoding fits well with Miranda’s enthusiasm for musicals, which are positive and refreshing re-telling of America’s past. Your mention of the negotiated and oppositional readings makes the discussion more constructive. It portrays how individuals of varied backgrounds or thoughts of mind may consider differently or even reject the musical’s representation of significant historical characters and events. This follows Hall’s theory that decoding media texts occurs based on one’s experiences, beliefs, and culture. I also like the visuals you added to the blog; I would have liked to watch a video clip of Hamilton to reminisce about what was discussed.
Great work!
I loved reading this discussion post- great job! I think Hamilton serves as a great example of Stuart Hall’s theory. I do wonder if Medium theory could be discussed with Hamilton as well- and how that medium changes the way we decode messaging. Musicals, particularly hamilton, are of course high energy affairs with lots of singing, dancing and movement. I think that can impact the way that we decode the musicals message. For example, someone who is simply enamored with the glitz of the show might blindly follow the message the show gives as they are too focused on the entertainment of the show to do much more than passively consume it. I think the opposite can be true as well- and impact negotiated and oppositional decoding. Someone might think Hamilton has a message to tell, but be disgusted with the medium they are choosing to tell the story because they think a high energy musical isn’t appropriate for a controversial part of history. Thus, they might be hesitant to adopt the musicals’ message entirely and thus reinterpret in part, which would be negotiated. Or if the audience member truly hates the medium, they might then refuse to accept the musical’s message thinking the creator has to be wrong if they presented it in this manner which would fit into oppositional decoding. Of course I think this is a surface level understanding of the interplay between the two theories, but I would love to see your thoughts here. Do you think that Hamilton can highlight an interplay between the two theories?
Hi,I’m very interested in how you used Hamilton as an example to explain this theory. As a fan of the Hamilton musical, I indeed followed the character portrayal that the writer intended to create. Because of this, I only focused on Hamilton’s highlights in American revolutionary history and his love story with Eliza. This made me realize that, as an audience, we are often unwilling to explore the authenticity and duality of information. Audiences sometimes only believe what they see and lack the curiosity to dig deeper into the other side, which in many cases might be closer to the truth. For example, as you mentioned, the Schuyler family was actually one of the slaveholding families. This kind of information is not something we can learn through the musical Hamilton. There is indeed a beautification and downplaying of the evils of being slaveholders.
hi i love your blog! The blog skillfully applies Stuart Hall’s encoding/decoding model by illustrating how Hamilton encodes key messages around diversity, opportunity, and patriotism through its casting, storytelling, and music while also acknowledging the diverse ways audiences decode these messages—whether by celebrating its progressive representation or critiquing its romanticized portrayal of flawed historical figures like Alexander Hamilton. By focusing on a modern cultural phenomenon, the blog not only makes these academic theories more accessible and engaging but also demonstrates their relevance in unpacking how popular culture shapes and reflects societal narratives today.