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Better Left Unsaid: Victorian Novels, Hays Code Films, and the Benefits of Censorship. Stanford University Press. ISBN 978-0804784207. Lugowski, David M. (Winter 1999). "Queering the (New) Deal: Lesbian and Gay Representation and the Depression-Era Cultural Politics of Hollywood's Production Code", Cinema Journal (38) 2: pp. 3–35. JSTOR 1225622
Cultural code refers to several related concepts about the body of shared practices, expectations and conventions specific to a given domain of a culture. Under one interpretation, a cultural code is seen as defining a set of images that are associated with a particular group of stereotypes in our minds.
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Camera Obscura is a triannual peer-reviewed academic journal of feminism, culture, and media studies published by Duke University Press.It was established in 1976 [1] by four graduate students at the University of California, Berkeley: Janet Bergstrom, Sandy Flitterman, Elisabeth Lyon, and Constance Penley. [2]
Cultural Studies ↔ Critical Methodologies is a bimonthly peer-reviewed academic journal that covers research methods in the field of cultural studies. The journal's editor-in-chief is Norman K. Denzin (University of Illinois). It was established in 2001 and is published by SAGE Publications.
Structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication. However, structuralist film theory differs from linguistic theory in that its codifications include a more apparent temporal aspect.
Miller's work has been influential in a wide range of fields in literary and cultural studies, including narrative theory, the history of the novel, film studies, and gay studies. In his early work, Miller examined the cultural and ideological work of the nineteenth-century novel in English and French.
Since the early days of cultural studies-oriented interest in processes of audience meaning-making, the scholarly discussion about "readings" has leaned on two sets of polar opposites that have been invoked to explain the differences between the meaning supposedly encoded into and now residing in the media text and the meanings actualized by audiences from that text.