In a world where fake news looms around every corner and endless platforms exist through which it may be spread, distinguishing facts from falsities becomes difficult. But what if alternative media could provide society with a basis for hope rather than despair? In Amazon’s original series “The Man in the High Castle,” this is just the case.
The show offers a glimpse into an alternate 1960s-America, wherein the nation lost World War II and is consequently divided into the Greater Nazi Reich in the east and the Japanese Pacific States in the west. Media is used to the advantage of both the autocracies and the budding underground resistance: the former for propaganda, the latter for establishing the prospect of a non-totalitarian order. Central to the story are mysterious films depicting an alternate outcome of the war—what we know as reality—in which America is victorious. The filmmaker is none other than the elusive titular character. These films are a prime example of Stuart Hall’s process of “encoding” and “decoding” a message, here “produced” by the Man in the High Castle and “circulated” among and “consumed” by the recipients of the films.
The meaning of the decoded message is fairly identifiable: the films provide cinematic evidence that another reality is possible. That message is then “reproduced” as a call to action: the resistance can and should overcome autocratic rule, while the governments should strive to combat and suppress rebellion. The meaning of the encoded message, however, is less clear. While the inherent meaningfulness of the films is obvious, their exact purpose is not. The Man in the High Castle could have intended for them to incite a revolution, express it as a possibility, or simply serve as a distraction via entertainment (although unlikely). Perhaps more answers will be revealed in the show’s upcoming third season.
Outside of the story, another level of “encoding” and “decoding” is present, this time between the show’s creators and viewers. Here, it is a mirror image of the message transmitted within the show: a message is carried through the on-screen portrayal of an alternate reality from ours, and is then interpreted by the audience, us. Instead of inciting a revolution, however, the decoded meaning appears to be a reminder of what America could look like without democracy—an increasingly relevant topic today. Is this what the creators had intended in the encoded meaning as well? Quite possibly, considering the nation’s current political state. Regardless, it is hard not to draw parallels between the two.
There are multiple ways message “senders” can manipulate message “receivers” through the use of media. These messages are catered to suit targeted audiences, and are often effective in doing so, as is demonstrated by and within “The Man in the High Castle.” Altogether, it is discerning the messages’ encoded meanings that can prove to be a challenge, in both real and alternate worlds.
Works Cited
Hall, Stuart. “Chapter 6: Encoding, decoding.” The Cultural Studies Reader. During, Simon. Routledge, 1993. pp. 90-94.
Poniewozik, James. “’The Man in the High Castle’: An Alternative America Hits Home.” The New York Times, The New York Times, 15 Dec. 2016, www.nytimes.com/2016/12/15/arts/television/an-alternative-america-hits-home-in-the-man-in-the-high-castle.html.
Ryan, Maureen. “TV Review: ‘The Man in the High Castle’.” Variety, Variety, 18 Nov. 2015, variety.com/2015/tv/reviews/man-in-high-castle-amazon-review-1201637876/.
“The Man in the High Castle (TV Series 2015– ).” IMDb, IMDb.com, www.imdb.com/title/tt1740299/.