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that a non-Māori viewer would realize that the commercial reinforced stereotypes of the Māori as savage, “...primitive athletes, genetically advantaged to participate in physical activities as opposed to intellectual ones” (as cited in Scherer & Jackson, 2008, p. 516; see Hokowhitu, 2004). The authors summarize their discussion of representation with the following statement: By appropriating and fabricating stereotypical images and mythology of Māori culture, adidas, the NZRU, and Saatchi & Saatchi controlled, contained, and globally showcased the exotic black Other like an exhibitionary colonial museum for commercial profit. Although some Māori were consulted during the creative process, and this undoubtedly legitimized the use of Māori culture for the cultural intermediaries, the commercials representations are ultimately owned and controlled by non-Māori for global commercial purposes (Scherer & Jackson, 2008, p. 518). This example demonstrates that one moment in the circuit, even an often powerful moment such as representation, cannot always completely determine meaning. In other words, moments such as identity and consumption play a role. The producer of the commercial may think they are representing a particular group (i.e. Māori culture) in a favorable manner. Nonetheless, a viewer may encode the message in an oppositional way if aspect(s) of their identity clash with what they are consuming. When a message is disseminated, it is free moving, open to multiple interpretations that are receiver dependent. The representation is consumed, and arguably, aspects of a receiver’s identity will impact how they internalize a message (which relates to Hall’s (1980) preferred, negotiated, or oppositional reading). Identity Identity is multifaceted and ever-evolving. It is a complex and intertwined system that works in conjunction with the other moments on the circuit. Barker (2000) describes identity as: 26PDF Image | EXPLORING HAUL VIDEOS ON YOUTUBE: A COLLECTIVE CASE STUDY APPROACH
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