decoding

This study, employing the theories of reception theory proposed by Stuart Hall and the method of content analysis, examined the way in which citizens in Duroud perceive and interpret 14 political documentaries aired on the "Manoto" TV channel. The research followed a qualitative approach in its methodology and utilized two methods, namely thematic analysis (to understand the encoding techniques used in the political documentaries) and semi-structured individual and group interviews (to grasp the diverse readings and interpretations of the target audience). The research commenced with the analysis of 14 political documentaries using the thematic analysis method. This allowed the identification of the representation of the discourse of the Islamic Republic and the Pahlavi discourse within these documentaries. Subsequently, the target audience's reading of these documentaries was examined through a combination of individual and group interviews. In the final stage, the data from these interviews was compared with the encoding methods employed by the "Manoto" TV. The findings indicated a hegemonic decoding of the messages by most participants, suggesting that "Manoto" TV has effectively influenced the audience's interpretations.

The Frankfurt School and specifically, its pioneers such as Max Horkheimer and Theodor Adorno, while theoretical commitment to Marxists, but due to the studies they had on the views of Max Weber, Sigmund Freud and Hegel, they paid more attention to superstructure institutions such as culture than the classical Marxists. they did. Hence, they recognized that what caused the failure of Marx's predictions in the occurrence of political and social revolutions in powerful capitalist countries such as England, Germany, and France was the capitalist's resort to tricks such as the use of cultural industries to divert The working class was about realizing self-awareness in them and carrying out the revolution. Through mass communication media, these societies publish a kind of low-level and degrading culture that lowers the audience's taste, as a result of which their high-level thinking and activism turn into low-level and worthless behaviors. For example, according to Adorno, in classical music, it is innovation, the listener's mind is deepened, but in pop music, it is just repetition. According to the main members of the Frankfurt School, especially Aderno and Horkheimer, the audience of the mass communication media is passive, impressionable and lacks the ability to resist the domination of the government and the dominant class. Another characteristic of the Frankfurt school is their criticism of positivists. They believe that the methods of experimental sciences do not have the ability to analyze and deepen social phenomena, although this was not absolute among the members of the Frankfurt School, and in some cases they used positivist methods. In a book called Dialectic of Enlightenment, Adorno and Horkheimer talk in detail about the culture industry and pop music and the ways in which this music can distract minds from addressing important issues such as deep political and social issues. But while they clearly define the nature and nature of domination in capitalist systems, they only pay attention to the sender and the intentions of the sender of the message and consider the receiver of the message to be completely passive and effective. But the Birmingham School of Cultural Studies, while being critical of contemporary societies and the dominance of capitalism, offers a more subtle analysis of the relationship between the media and the audience and the audience with the media. Birmingham School of Cultural Studies is multidisciplinary in nature and is influenced by sciences such as sociology, communication, psychology, language and literature, etc. On the one hand, this school is strongly influenced by the thoughts of Antoni Gramsci, the Italian neo-Marxist philosopher. In the theory of hegemony, Gramsci believes that the state and the capitalist system, not only through direct domination such as the use of force through coercive forces, but through the production and reproduction of a type of culture that creates citizenship in citizens and especially the inner working class. does, continues to survive. This culture is internalized by the civil society institutions such as family, school, church and mass communication media in the people of the society and especially the working class and it keeps them away from the revolution. But the thinkers of the Birmingham School of Cultural Studies, while accepting this Gramsci theory, also believe in the resistance of the society. Stuart Hall, who is one of the pioneers of this school in the theory of encryption and decryption, believes that while the media serve the domination system and have hegemonic goals, what they intend is not always influenced by the audience. Audiences are not necessarily passive and depending on their individual, psychological, cultural and social environment, they may decode media messages in a different way. For example, the Islamic Republic of Iran Radio and Television may talk about the legitimacy of Russia's attack on Ukraine in its news messages, but some audiences may not decipher the message as intended by the media, considering their previous cultural and political backgrounds. Do not give the right to Russia. Another researcher of the Birmingham school is Dick Hebdaij. Hebdaij refers to subcultural resistance. In the research he conducted on working class youth in England, he found out that these youth use the messages of mass media such as pop and rock music in the direction of their desires and to protest against the ruling system. they give. They intelligently and purposefully mix popular culture products with their dissenting thoughts and use them as a tool to express their protest against the government and the capitalist system. Based on this theoretical approach of Hebdaij, young people in Iran who use special clothes to cover themselves, listen to special music and use special dialects in order to resist the ruling system, these behaviors They do. Finally, it should be said that although the theoretical approach of the Frankfurt school, and specifically, Adorno and Horkheimer, is accurate and meticulous in identifying the nature of the capitalist system and the methods of exercising its domination, but it seems that this school is a place for the resistance of the audience in Compared to mass communication media, it has not left and assumed the audience to be too passive. On the other hand, the Birmingham school, while accepting the existence of domination in contemporary societies, also acknowledges the existence of a subtle form of resistance by the audience.

Considering the importance of the family foundation in Iranian-Islamic culture, as well as the interest of children in watching animation, determining the represented characteristics and ideological codes of animations is necessary because the type of language used to express any topic can change its meaning. The aim of this research is semiotic analysis of the represented patterns of parent-children relationships and deciphering the prevailing ideological codes in the animation series "The Children of Gol-ha Building". The research method is determining content codes in three levels of appearance, technical and ideological which is based on John Fisk's semiotic method. All the episodes of this animation series were selected as the statistical population and then, detailed analysis was done on 12 episodes related to the research. The results of the research show that according to John Fiske's semiotic analysis of codes, the relationships between parents and children in the Iranian-Islamic lifestyle is a mutual fundamental relationship based on common values and the creators of this animation series have institutionalized many ideological implications about parent-children relationships based on Iranian-Islamic culture and their intended culture and goals.

One of the patterns of encoding messages in TV series is to include the preferred codes of the series in the form of dialogues and behavior of a "quiet white and positive" character. Examining the content of the most watched TV series in the last 15 years shows the prevalence of this pattern in TV series. The present article, which is derived from the author's research in the field of the consumption of popular television series, focuses on how the audience encounters this pattern and characters, as well as how they decipher the preferred codes. The research data was collected through semi-structured individual and group interviews with 74 viewers of popular TV series. The findings showed that the feedbacks of the interviewees are mainly negative emotional and cognitive. Based on the findings and in agreement with the cognitive views about emotions, the audience's encounter with contents and television series is much more complicated than that by including the message of the series in the speech and behavior of " quiet white and positive characters" and Presenting a direct message can influence the audience.

Today, with the growth of communication technologies, audience access to a variety of transnational satellite networks, social networks, cyberspace and online has been facilitated in such a way that the media to attract more diverse audiences and thus sell more media products, according to desire and taste Plan your audience. Therefore, the need to know the exact audience and their needs has become very important. This article, using qualitative research method of perception analysis, based on interview technique including in-depth interviews and focused group interviews - and in the form of "use and satisfaction" theory and encoding model - Hall decoding, examines the views of adolescent audiences of Kayhan animation series. . The results of the research indicate that the level of reading the meanings perceived by the adolescent audience is not something that happens only the first time the audience watches the series, but the creation of meaning is a process that each time new contexts, new implications are raised. he does. On the other hand, the adolescent audience uses their experience to evaluate and judge the important events of the series and make decisions by comparing the situation depicted in the series with their reality and experience.

Today, TV series are one of the popular genres in the media world that have attracted many audiences. The Tulip Age Series aired by GEM TV in Persian language is one of the important series that has drawn the attention and occupied time of viewers, particularly the women. The main question of the present study is: How women, as main audience of this series, decode it? Do they accept the dominant discourse of this series, or reject it, or interact with it? Therefore, the main objective of this research is to study the way of reading of women of this series. Hence, Hall’s theory and reception analysis approach were employed and the data were collected and analyzed through narration analysis. The findings indicate that women decode the series under study through four methods, namely, hegemonic-dominant position, confrontationist, moderated and meta-hegemonic.

Although the news texts are produced by media professionals but the main subject of this article is how audiences understand and grasp them. In the other words, how the texts are understood and decoded? This research is based on a theoretical framework developed by Stuart Hall and Laclau and Mouffe'. To examine this idea, a mixed method has been used. In order to recognise how audience confront the 20:30 news program, in-depth interviews were done, and for measuring their political attitudes a questionnaires have been used. The research findings show that the audiences, who have broader access to different discourses, decode the news programs 20:30 differently. Based on their political tendencies towards conservative and liberal attitudes as well as some variables such as cultural capital, structural position and subject position in which they are located, they will decode the texts differently.

The purpose of this study is to investigate the representation of women in the advertisement of Persil washing powder. This qualitative study is based on the semiotics method in order to decode the cultural stereotypes in the advertisement of Persil washing powder. The results showed that the representation of women in advertisements is often associated with a set of cultural stereotypical pictures and images. In fact, despite the intended policies to eliminate cultural stereotypical images in advertisements, they are still full of pictures and images showing women are subordinate to men. In the advertisement women are represented as those, who don’t have their own identity and are always in need of paternal- men’s support. Results showed that female identity is always a reflection of prevalent stereotypes in Iranian society. In terms of these stereotypes, women belong to the home and its environment, and the stereotypes seek to intensify relations with media images. In a real word, the media are in the wake of naturalizing the constructed relations by the cultural codes in the society.

This study seeks to answer to this fundamental question which how young audiences of specific Persian language satellite channels are engaged in reading the communicative messages from such channels and what kind of messages of such channels’ reading they do? To answer this question، the study uses Stuart Hall’s perception analysis approach and encoding-decoding model. This approach relies on the principle that based on their social and cultural contexts، the audiences when are faced with the mass media messages، actively perceive and read media texts. According to this view media texts have the polysemic capability and based on their cognitive، social، and identical contexts، individuals perceive specific meaning from these texts. The study uses discourse analysis method and in-depth interview technique، and it shows at the end which cultural and identical circumstance of studied audiences is sorely effective in the way of acceptance and receive of messages. With regard to the particular circumstances of satellite TV in Iran and also the hybrid culture and identity of Iranian immigrants who are mostly producers of Persian language satellite channel programs، the results are containing particular theoretical implications.

The aim of this article is to describe the role of foreign media as the agitators of popular culture. For that with reception analysis it’s pay to describe decoding of youth audiences about this series. Globalization theory and Reception in Communication theory are formed the theoretical system of current article. The methodology in this research is qualitative one، and two techniques as in-depth interview and observation are used for data collection. The results show different people based on individual features، social and cultural backgrounds have inclination toward special characters and identify with them. This inclination so far the audience fallow the series because of his/her favorite character. Also there is a great compatibility between audience backgrounds and their receptions. A number of audience have criticized the series and point out the negative consequences on its society. However، seeing the series continue; really they prefer watching series enjoying to risks of it.

Transferring data in remote sensing systems and their coding methods are one of the most practical and advanced sciences in the world. Scientists try to invent new methods for this purpose. Telemetry channel coding is a method to process transferring data from source to destination, through which separated message can be generatedin a way that can be easily and simply distinguished from each other. Coding reduces error probability and increases channel efficiency. Although introduced channel coding themes is not the only code used in space missions but investigating the best coding schemes by CCSDS standard is the aim of this paper. We first would explain cross convolutional coding with ½ symbol rate, punctured convolutional coding and also Reed Solomon (RS) Code that have many advantages in bandwidth and error recognition. At the end, turbo code and also code block synchronization will be introduced.

T.V is one of the most important socializing devices in the modern societies, besides, the T.V serials is one of the efficient tools for transforming and transporting the values in the social life. Behind the “neutral” and “innocent” appearance of these serials, discursive behaviors are implied which role as indirect social facts. This matter determines trends of activities of our minds. The purpose of this paper is a semiotic analysis of the manners of representation of marriage in T.V serials. With semiotic method, five more high popular Iranian T.V serials from 1370 to 1389 were considered. In these Serials we have faced with three types of representations Traditional marriage, semi-traditional marriage, and modern marriage which each one encoded in various methods of media’s indications.

Indian popular films, as a global popular culture, are consumed vastly in Iranian society. This is not a new phenomenon and can be traced back to the 1330s. But there has been no investigation about the way these films are consumed and how the spectators communicate with them .The present research employs the approach of cultural studies, explaining and interpreting the readings of Indian popular film among Zahedani spectators. In doing so, we have used a qualitative- synthetic method. This method includes: 1) interpreting the social, ideological and technical codes of Indian popular films, 2) analyzing the sociocultural contexts of spectators, and 3) explaining the reading of spectators. The findings of this research indicate that Indian popular films, as a global popular culture, create some structures and power relations in the world of narrative, which naturalize and are influenced by structures and power relations in the Indian social world. Whenever, due to globalizing processes, global popular culture is consumed locally, its discursive formation will change according to the discursive identity of local consumers and their concerns. The texts of global popular culture can provide a context in which local consumers are able to transcend the framework of space and time and overcome their social, cultural and political limitations.

Indian filmas a kind of global pop culture has been consuming broadly in Iranian  society. This is not a new phenomenon and is traced back to 1950s decade. But till now their process of consumption and the kind of relation with which Iranian audience make have not been studied. The present study using the cultural studies tradition examines the readings of Zahedans's people to explain the problem. The study has deployed the "combined-qualitative" methodology which simultaneously includes : 1) inferring social, ideological and technical codes of Indian films;2) analyzing the socio-cultural backgrounds of audience; 3) perception of audiences 'readings. The results show that the Indian popular films as a sort of global popular culture, generates the structures and power relations in the world of narration which is highly affected by the dominant structures and relations of power  in the Indian society. While due largely to the effect of globalization the global popular culture is consumed locally, its discourse articulation in relation to the identity of the consumers, even quite, would be change. The context of global popular culture could provide a ground the local consumers to break the mold of time and space and overcome their cultural, social and political limitations.