Frame Analysis is one of the most cited, and least read, of Goffman's books. Clocking at 576 pages, this may not be surprising. It adorns bookshelves more than it is carefully pored over. But, fifty years after its publication, it is an auspicious moment to take the book off its shelf. As American cultural sociology has become both prominent in the discipline, and more cognitive in its approach, the book offers a contribution as well as a corrective. The main question that the book propels us to think about-how do we know which kind of situation we are in, and how do we then signal and co-construct this shared reality with others-is newly resonant.Frames, after all, are deeply cultural as shared patterns of meaning making of a group, with some constituting "a central element of its culture" (Goffman 1974:27). Indeed, such frames may be more central to a cultural definition of a group than many of the things that sociologists of culture often study. Goffman is not after particular codes that structure modern societies, schemas, or cultural grammars. He is not interested in the interpretive content of a particular situation, but in its form. A frame is the shared fabric of the realities we inhabit. Are we inhabiting a serious, business as usual, mode of reality? Are we constructing our action in relation to other people and assume that we need to take their intentions into account? Are we, instead, acting in relation to what we conceive as a disinterested natural world? Is this play? Literature? A joke? Each of these "frames" make different assumptions about how we act and interact; how we understand our own actions, and each other's actions.The term "frame" has an interesting provenance for such a culturalist concept. As Goffman notes, the term is borrowed from the work of the ethologist and anthropologist Gregory Bateson, who used it to think about what he called the "meta-communicative" aspects of animal behavior. If otters play, asked Bateson (1972), how do they know that they are now "doing play"? How do they signal to each other that the fight they engage in is not really a fight, but a mock-fight? What are the elements of play that they somehow keep intact? How do