The article analyses media narratives about immersive exhibitions in Poland and the ways in which they are decoded by students from the perspective of Stuart Hall’s encoding/decoding model. The study was qualitative and consisted of two stages: encoding and decoding. In the former, nine Polish-language media accounts concerning three exhibitions were analysed: Van Gogh & Friends: The Immersive Experience; Klimt: The Immersive Exhibition; and Titanic: The Artifact Exhibition. In the decoding stage, three moderated group discussions were conducted with MA students of journalism and social communication (N = 45). The findings show that the media encode immersion mainly as an intense experience combining art, technology and spectacle, whereas audiences decode these messages in varied ways. The greatest discrepancies concerned promotional films, which were particularly likely to trigger negotiated and oppositional readings.
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