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Representation and the Construction of Social Reality. 

O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education, 2010. Chapter 3 – Representation and the Construction of Social Reality.

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Constructing a Crisis. In the first section of the chapter, O’Brien and Szeman explain the concept of constructing a crisis as is understood by most today. The authors examine how different issues are represented differently, in the construction of a crisis and the impact this has on the understanding of the crisis. Accordingly, the authors explain that the construction of a crisis is dependent of two factors, including the reality of the event, and how the event is presented to the society. In support of their ideologies, the authors present the case of the crisis of Victoria in British Columbia that saw the rise of teenage violence in the early 2000s.

The authors explain how this violence and chaos were brought out as a social crisis in the state after years of hiding owing to the fear of tarnishing the city’s image. The authors also use other cases of youth violence and crime, as well as, the responses towards these situations, in support of their arguments regarding social construction of crises. In essence, the authors explain the role of the media in both, representing the real picture during crisis and its inability to grasp the intricacy of the truth of the crisis[1]. This first section of the article also explains what is to be covered in the next sections, and facilitates the comprehension of some of the ideas and concepts regarding social construction.

Representation. Having introduced the story of youth violence in the first section of the article, O’Brien and Szeman examine the concept of representation as is relates to social construction. The term representation is defined as the social construction of meaning by use of sign systems[2].   Accordingly, signs refer to all the components of communication including words and images among other things.  As the authors explain, representation is a key element of the social construction and the creation of facts in social life[3]. This is because representation involves the utilization of sign systems as tools of communication, most of which are used to describe all existing realities regarding a particular subject matter. Representation affects people’s thoughts and perceptions concerning certain events, hence its role in social construction. To, further, elucidate their ideas regarding representation, the authors also draw attention to the structuralist theories of representation, as well as, the rules of representation in social construction. As explained in the article, the structuralist theories of representation are focused on the indirect meanings of words and cultural practices, as opposed to, their direct meaning. Put simply, these theories put more emphasis on how words mean instead of what they mean[4].

O’Brien and Szeman provide the example of the semiotic theory in support of this, and they explain how this theory has had a major impact on culture. Essentially, the semiotics theory consists of two main elements including the langue and parole. The langue is what the authors refer to as the what the meaning is, where as the parole refers to how the meaning is presented. The langue is also associated with the system as a whole as existent on the abstract level, whereas, parole has been closely linked with individual utterances[5]. O’Brien and Szeman also discuss the rules of representation, and how their application in social construction. The authors explain the rules of representation are quite simple and they involve drawing the line between storytelling and the depiction of actual events. While these two principles may have a relation in social construction, the authors explain that the ability comprehend the role of these two elements in social construction is imperative. It provides individuals with the ability to draw out made up stories from actual realities. To support their argument, O’Brien and Szeman provide the example of Jim Jarmusch’s Movie, Broken Flowers, which they believe was the best demonstration of drawing the line between reality and storytelling.

Semiotics. As mentioned before, the authors draw attention to semiotics as a structuralist theory in social construction. O’Bren and Szeman explain that the theory of semiotics was and still is a key component in social construction. The authors argue that the theory of Semiotics was purposely established so as to study the life of signs in society[6]. The authors, further, explain how the theory of semiotics has been utilized for various purposes such as the music, film, and architecture. As the authors explain, one of the most crucial elements of the theory of semiotics is reliant on the theory’s belief that signification woks in accordance with the principles of difference[7]. This difference refers to the difference in words, as well as, their meanings to individuals. Particularly, this difference is examined in relation to binary opposition, which refers to the acquisition of meaning through the relation to opposite terms, as opposed to, what they are[8]. This is clearly brought out when examining the cultural meanings and mythologies, all of which play a role in social construction.

Accordingly, the authors also examine the concept of mythologies as related to the subject and they explain that mythologies have been used to discuss the various ways through which sign systems are utilized for the reproduction of social relationships[9]. O’Brien and Szeman argue that sign systems embrace both denotative and connotative meanings and importance, and for that reason, are used to bring out the values and beliefs of the community to which they belong.  Sign systems are, therefore, used for the communication of a culture’s predominant values and beliefs[10].

Consequently, myths are also considered as a form of representation in social construction and popular culture. Individuals employ their mythological belief and practices when shaping their collective identity and for that reason play a significant role in social construction. The authors give the example of the humanist myth regarding the universal human nature. They argue that this myth intrinsically obliterates inequality in human existence, both on a modern and historic context[11]. Still on the issue of semiotics, the authors examine discourse and power, as they relate to social construction and popular culture. O’Brien and Szeman explain that not only does the theory of semiotic focus on the meanings attained from sign systems, it also examines the amount of weight of this meaning to the community[12]. The authors explain that in the broader sense of social construction, words and their meanings can determine or shape social relations. Put simply, the meaning of a word to a particular culture will determine who is permitted to use the word, and the circumstances through which this is permissible among other things[13]. The authors explain that this has a social effect on a community or culture, and for that reason, plays a role in social construction and popular culture. The term discourse is used to describe the method through which speech and writing are used together for the creation of social reality[14]. Discourse has also been used to describe some of the rules regarding speech and writing, and for that reason, determining the speakers on certain subject matters. Evidently, the idea of power is brought out in this definition as it relates to the concept of discourse. Being granted the permission to speak o certain issues is regarded as the attainment of knowledge, and because knowledge is power, it is important to not the relation of the two.

Representing the Youth Crisis. Having looked into the theories of mythology and the concept and ideas regarding discourse, the authors use the information acquired to analyze the problem presented at the first section of the book concerning the youth crisis. The authors believe that understanding the dynamics of representation in this problem will require an examination of the discourse through which youth and criminality are described[15]. To expound on these ideas, the authors attempt to justify and explain the consequences of the youth crisis to the society as a whole. O’Brien and Szema, examine the various concepts of youth and criminality, as well as, the hoe these concepts are reproduced when presenting the youth crisis to the society. The authors begin by examining the construction of youth in societies and communities, as well as, the impact of this construction to the society. As the authors explain, the media representation of the youth crisis is determined by various discourses that are used to expound on the concepts of youth and crime[16]. As the authors explain, the term youth has been used to define the period between childhood and adulthood during the process of human growth and development[17]. The authors also examine the history of youth criminal activity as a way of expounding on the concept of the construction of youth in society today. O’Brien and Szeman explain how the first instances of youth crimes in society were referred to as mugging, as the youth engaged in petty crimes that were of similar characteristics to mugging[18]. Soon, the youth began engaging in other criminal activities, and embracing new categories of crime such as assault, carjacks, and home invasion among other things[19].

Moral Panic. In this section O’Brien and Szeman examine the responses of the society to youth crisis, as well as, the engagement of the youth in a number of criminal activities. As the authors explain, moral panic is the condition whereby a group of people is identified as being of threat to the community or society as a whole[20]. The event of a moral panic develops as a response to the increasing incidences of youth crises and the media is responsible for the stereotypical fashioning of moral panic. According to the authors, moral panic is an imperative response to youth crises because it facilitates the diagnosis of the problems associated with this, as well as, providing a solution for these problems[21]. Further expounding on the ideas presented in this section, the authors examine the role of the media in the representation of youth crises. O’Brien and Szeman examine the process of news making by the media, and how this affects the society’s perception of youth crises. As the authors explain, the presentation of events cannot be described as being a transparent window to the world, instead, it entails the assembly of chaotic data that has been shaped with accordance to certain principles for the purpose of creating news[22].

Most news today is fashioned in a way that it creates business for the media organization, as opposed to providing meaningful insight on the events that take place. According to the authors, media organizations more often than not exercise control over the stories that they present to their viewers regarding a particular subject matter[23]. Sequentially, the society interprets the news presented differently, thus making it hard or individuals to understand the subject matter accordingly. Most of the news presented by the media has been identified as being biased, and for that reason, affects social construction, and popular culture. To expound on this, the authors explain how the media has embraced consensual, societal views, as a tool for reporting, which in turn determine how the society thinks as a whole[24]. In relation to youth crime, the author explain that the media constantly embraces crime as the central features in the news because of the simple fact that crime creates news value[25]. The term news value is defined as media information that is out of the ordinary and easily contextualized to fit the social and cultural milieu of the audience[26]. O’Brien and Szeman argue that news gain substance through mythologies and news reporters will always find ways in which they can utilize community and societal myths when presenting news to their audience.

Realism.  O’Brien and Szeman, also discuss the concept of realism and the role it plays in social construction and popular culture. The authors explain that realism is closely linked to popular culture and this concept emphasizes on the objective reality, consumerism, and consumption[27]. The authors argue that realism has constantly been exploited in the representation of events that take place in society. They argue that individuals have used their ability to reproduce reality with minimal substantiation[28]. Accordingly, the meaning of the information provided is translated by individuals based on their understanding of the meaning of what is presented to them. The authors give the example of the youth violence in Victoria, and how the media took advantage of realism in reporting the events that took place. The authors explain that the media has a great influence on social construction and popular culture and they explain how, in the case of the youth violence in Victoria, the media failed in its roles. The authors argue that the media failed on the representation of youth culture, which, in turn, affected solving of the youth problem in Victoria[29].

The Politics of Representation. In this section, the authors examine some of the critical elements of representation and their impact on society. The authors begin by explaining that representation is connected to power and the organization of this, leads to what is commonly understood to be social power[30]. This social power is also a determinant of social construction and popular culture. In this section, the authors examine the concept of representation in relation to representing others, the contexts of representation, as well as, the myth of mass media manipulation. In relation to representing others, O’Brien and Szeman argue for the necessity of representation based on gender and race[31]. The authors explain that their choice of these two facets is as a result of the binary opposition, characteristic that gender and race contain. They argue that gender and race have always been used for social construction, and for that reason, need to be examined accordingly[32]. The authors also argue for the representation of minority groups in the society and the community as a whole.

O’Brien and Szeman explain that the representation of minority groups will facilitate proper social construction and popular culture[33]. In relation to the context of representation, the authors examine some of the ways through which the media has represented events in the society through films and other forms of media productions. The authors examine a number of films which they consider to have had little or no representation of the true events taking place in the society[34]. The authors explain why each of the selected films succeeded or failed in representation, thus affecting social construction and popular culture. The authors examine some of the social consequences of representation, which affect people’s views regarding a particular issue or subject matter[35]. The authors also explicate on the relationship between representation and imagination and the impact it has on the formation of ideologies and perspectives. Accordingly, the authors explain how the mass media has been able to manipulate the society into one line of thought, thus the creation of social construction and popular culture.

 

 

 

 

 

 

 

Work Cited

O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. Chapter 3 – Representation and the Construction of Social Reality.

 

[1] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.66

 

[2] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.67

 

[3] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

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[4]O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.67

 

[5] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.68

 

[6] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.69

 

[7] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.70

 

[8] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.70

 

[9] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.70

 

[10] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.70

 

[11] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.70

 

[12] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.72

 

[13] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.72

 

[14] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.72

 

[15] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.73

 

[16] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.73

 

[17]O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.73

 

[18] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.74

 

[19] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.75

 

[20] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.76

 

[21] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.76

 

[22] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.77

 

[23] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.77

 

[24] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.78

 

[25] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.79

 

[26] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.79

 

[27] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

  1. pp.81

 

[28] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

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[29] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

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[30] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

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[31] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

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[32] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

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[33] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

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[34] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

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[35] O’Brien, Suzie and Imre Szeman. Popular Culture: A User’s Guide. Toronto: Nelson Education,

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