Visual methodologies by Gillian Rose[ 451-455] Pdf To Word PDF

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SUBJECT ÍNDEX

psychoanalysis cont. mirror stage, 161—5 subjectivity, sexuality and unconscious, 151-5 summary of, 184 publication, of research images, 353 p«ncr«m, 122 punishment, 221—2 qualitative approach, 86 and content analysis, 87, 99, 102 qualitative methods, and content analysis, 87 quantitative approach see content analysis queer looking, 178—80 queer theory, rejection of psychoanalysis, 154 race and ethnicity and advenising, 115 and audience studies, 272 in computer games, 17 in constructions of East End, 210, 213 on internet, 289 in psychoanalytic film theory, 182 The Real F-'ace o[ White Australia, 295—7 see ‹i/so Western representations radical formalism, 81 Railway Station, The, 203, 204 random sampling, 90, 91 Real face of White Australia, The, 295-7, 302 Real, the, 171, 173—4 realism and colour, 65—6 of photos, 27, 122, 190, 224, 309, 310, 343 and technologies of interpretation, 23* see also truth reality television shows, 263 Rear Window', 159, 160, 162, 163 Re6ecc , 167—8, 169, 177-8, 179-80 reception regimes, 140 reception research, 269 reconstructions in museums, 234 recontextualisation, 277—8 reduced visualisations, 337 referencing, of images, 54—5 referent systems, 128—9 referents, 114, 122, 171 reflexivity, 22—3, 46 and compositional interpretation, 83 and content analysis, 104 and digita1 methods, 303 and discourse analysis, 193—4, 215—17, 225—6, 250—1 and dissemination of research, 352 and identifiable images, 361 and photographic work, 310, 327 and psychoanalysis, 148, 180-1 and research ethics, 369

reflexivity cont. and semiology, 108—9, 143, 144 and studies of audiencing, 271, 284 regeneration, role of museums, 248 regimes of truth, 190, 193, 224, 234 relational maps, 318 relay-function, 121 reliability, 87, 96 remediation, 28, 6S repetition, and representations of femininity, 167 rephotography, 313 replicability, 87, 96, 143 representations in adverts, 115-16 concept of, 2, 8-9 representativeness, 89—91, 110, 143 reproduction of images, SS , 368 see allo sharing of images research data making images as introduction, 307-10 photo-documentation, 308— 14, 327-8 photo-elicitation, 308, 309, 314—28, 332, 360 summary, 328-9 variety of participant-generated, 318—19 research dissemination see dissemination of research research ethics anonymity, 302, 358, 360-2, 367 a udience studies, 271 confidentiality, 360—2 consent, 271, 302, 362—ó, 370 copyright, 55, 367—8, 370 digital methods, 301-2 guidelines, 357—8, 362, 363, 366-7, 369 introduction to, 357-60 in photographic work, 310, 360-2, 363-6, 368, 370 researcher’s moral framework, 369 rights-based approach, 371 summary, 371 and visual culture, 369-71 work with children, 320, 363 research findings see dissemination of research research questions, 89, 92—4, 294, 311-12 research relationship, 271, 285—6, 316, 324, 361 researchers, moral framework of, 369 resistance, 141, 142, 189-90, 245, 246, 259, 264-5 reverse-angle shots, 75, 163 rhetorical organisation of discourse, 205-14 rhythm of cuts, *" rights, and ethics, 37 l Ripper murders, 211 , 21.S, 217—18 roll shots, 75, 76 ruins, 341, 342

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43°

VISUAL METHODOLOGIES

rules and regulations in museums and galleries, 239, 244 research guidelines, 357—8, 362, 363, 366—7, 369 see a/so discipline sample size, 91 sampling, 64, 90—1, 99 saturation of colour, 64 scambaiters, 289 science discourses of, 230, 232 semiolohy as, 107, 108 scientific knowledge, 3—4 scientists, and discourses, 232 scopic regimes, 3, 12, 1 63 resists rice to, 141 scopciphilia, 147 fetishistic scopophilia, 159—d 1, 165 scra pe, 100, 294—.f, 296—" screen frame, 74 screen planes, 74 screen rutio, 73—4 screenshots, 64 search engines, 35—7, 53—4, 197—8, 300—1 seeing link with knowing, 3—5 see also p‹iint of view; ways of seeing

sexualdi ffer encecorn. masquerade,167—9,176 mi rror stage,161—5 sexualpol i ti csofl ooki ng,33,40 sexual i ty,154,178—80,182,272 shari ng ofi mages,21,300,368,370 shooti ng scri pt s,311—12 shops Appl est ores,135—7 and gentri ficat i on,311—12 i nmuseumsandgal l eri es,242 shotdi st ance,74—5 shots,i n fil ms,74—6

si gnificari ce,102 si gni ficat i on,131 si gnifieds andsi gni fiers,11. 3—14,11. f ,119—20, 123,

114—5,119,131,13 si gns

cod es, teterent s› stenas, ni ytht›1tigics and, 1 27—32 dccod ing ad verts, 132—6 de(ining, 1 12—1 7 describing, 11 7—2.3 and La ca n ia n ga zc, 1 ? 1 rel‹i tien s bctwcen, 1 24—7, 1 32

sites, mod alities and, 1 09

self-portra its

participant-genera ted, 31 S Renibrandt’s, 58—60, 64—5, 69, GO, 72—3, 79, 8i —2 semiology assessment of, 109—10, 142—5, 376— and a udicncing, 109, 133—4, 253—4, 258—9 , 376—7 choice of images, 1 10— 12 cr›des, referent systems and mythologies, 12+—.32 coin pared with other methods, 15.3—4, 20 I decoding adverts, 132—6 defining signs, 1 12— 1 7 describing signs, 1 1 >—23

introduction to, 106—10 relati‹›ns between s igns, 1 24—?, 132 social scmi‹itics, 107, 109, 136—42, 144, 12G su mrnary of, 1 45

use with films, 1 49 use with mass media, 86 semiotic resources, 137, 140 sensory experienci rig of images, 34, 58, 330— 1, .3 40, 341 ser all o affect settings, for adverts, 11 6 sexual di fference1 , SS—6,465-6 castrati oncontpl ex,1. S6—61 f antasy,1?4—S Lacnni on gaze,[69—" 4

si tes,24—7,49—50,373—S seeulso ’s udi enci ng;cir cul at i t i n;i mugcs; pr oduct i on endartphunes,34 ?Sé’ é’ H ISIB Gd fY1e£3ph€4UCS

s‹ i ci a1 cl ass nd audi cri ce st udi es,266—7,26S,271

andgaflery vi si t ors,4. S—6,232,244 i n psychcam atyti c fil m the‹ i ry,1S2— 3s‹ r a1s i› EastEnd of1. uni lon sepi aI c‹nst ruct i on,167,1S6—7 ‹fEastLnd see EastEnd ci fLondon soci aIcont ext ufproducti on,214—1. 5 ‹ i fvi ewi ng,20— 1,127,13S,1S3—4,2^7—S,279,

s‹acia I d ifferences, 17—IS cr›n strum tion of prost it utes, 205 a nd semir›logy, 107—S, 109 see a lsr› East End of Lt›ndun; sr›cia1 class s‹icia1 effects of visua 1 materia1s, 16—22 digital images, 29tJ—i , 299, .300, .303 ph‹atogra phic work, 310 social identirie s ci I a udic rice, AO , 45—6 and

participant-generated rn a te r i a I s, 3 I g—1 V

323—4 and socia1 prod uction, 30—1 see also social class

SUBJECT INDEX

soci almedi a,103—4,243,291—2,294—5,298—9, 302,363 soci almodal i ty,25,26,374 andaudi encestudi es,284 and composi ti onali nt erpret ati on,61 and di scourse anal ysi s,193,224 and psychoanal ysi s,152,183—4 andsemi ol ogy,109 andsi teofaudi enci ng,39—46 andsi t eofci r cul at i on,378 and si t eofi mage,32—3 andsi t eofproduct i on,29—32 soci alproducti onofdi scourse,214—15 soci alr el at i ons,16—22 debat eson,12,13—14 andmuseum di scourses,231—2 i n phot ographi c work,323—4 i nurbanenvi r onment s,308—9

see also powerr el at i ons soci alsemi ot i cs,107,109,136—42,144,226 sohwaie and anonymi sati on,360 and dat a vi sual i sati on,335,336 anddefini ngdi gi t ali mages,304 andgl obalaest het i cs,12 i mager ecogni t i on sof t war e,292,305 andmul ti medi awebsi t es,35 1 andonl i ne i magebanks,197—8 t oscrapedata,100,294—5,296 see also cul t ur alanal yt i cs Sof twareSt udi es I ni ti ati ve,100 sound,andcomposi ti onali nterpretati on,78 sour ces f ordi scourse anal ysi sI I ,227-8 ofl i ght ,79 ofsound,78 see also i mages{findi ng) spaces behi nd di spl ays,241—2 spat i alor gani sat i on and composi ti onali nt erpretati on,66—76 i ncomput ergames,71,76 i n fil m scenes,159—60 i n museums and gal l eri es,235—6,238—40 and posi ti on ofaudi ence,69—73,159,165 spat i alr out i ng,ofvi si t or s,244

spati al i ty,and mi rror stage,161 speci fiedgeneral i sati ons,phot osas,343 spect acul ardat avi sual i sat i ons,337 spect acul ari sedmascul i ni t i es,173 spect at t i r sseeaudi ences

Spiral Jetty, 8 sponsorshi p,231 spontanei ty,27,33 spr eadsheet s,96 st oryb‹ i ar ds,347 st r at i fied sam pl i ng,90,91

43°

street photography, 28—9, 31 structure, 62 stadium, 122 style, 139 subjectivity/ies in Foucauldian analysis, 186, 222 and museum discourses, 231—2, 241, 242 and psychoanalysis, 151—3, 154, 156, 162, 180—1 and reflexivity, 180—1 superimpositions, 74 surveillance, 222-3, 232, 245 symbolic signs, 11 7, 120, 136 Symbolic, the, 171, 173—4 symbolism, and discourse analysis, 199 synecdochal signs, 121 syntagmatic signs, 120 synthetic intuition, 201 systematic sampling, 90 tags, 197—8, 292, 294, 295, 297—9, 300 techno-anthropology, 275-82 technological equipment and skills cameras and cameraphones, 95, 319, 320, 347, 365 for dissemination of research, 347, 351, 352—3 technological modality, 25, 374 and compositional interpretation, 61—2 and concept of medium, 44—5 and digital methods, 303 and site of audiencing, 38—9 and site of circulation, 35-7 and site of image, 32 and site of production, 27 see also digital technologies; institutional technologies television audience studies, 254 ethnographies, 269—73 interviews, 265—9 changing nature of, 255—6 fans, 41, 260—3 limitations of studies of, 28 4-5 and method, 51 news programmes, 128, 26.f, 266—7, 265, 255 and techno-anthropology, 275, 278—82 users, 263—5 temporal organisation, of films, 76—7 terminology, of semiology, 109—10, 114, 143—4 text (written) about museums, 228 in museums and galleries, 237—8 in photo-essays, 340, 342—3, 343—4 in relation to images, 21—2, 55, 95, 121, .32.i, 343—4 textual technologies, 237—S texture, 341 themes, 206—7, 209

VISUAL METHODOLOGIES

t heoret i calbasi sofmethods,308,376,377-8 t heoret i calexpl i ci tness,181 theory,understandi ng,52 t hi r dpersonshot s,75 ti l tshot s,76,176 Time magazi ne,101 t i me-l apsephot ography,313—14 ti mel i nes,318 t ouri stgaze,4 t racki ng shot s,76 transmedi at ext s,243,247 traumacul ture,37 t r ut h

and di scourse,190,193,20911,224,236 t echnol ogi esofdi spl ay i n museums,234 and real i sm i n phot os,27,122,190,224,309, 310,343 truth cl ai ms,209,242 truth regi mes,190,193,224,234 Twi t t er ,294,295,298-9 unconscious, the, 151—2, 163, 176, 180 university ethics review boards, 357, 367 urban environment multimedia websites on, 348 photo-documentation of, 310-14 photo-elicitation in, 317-18, 319-27 photo-essays on, 341 photos in research on, 308 social relations in, 308-9 user-created content, 142, 298 see also participant-generated visual materials users concept of, 256, 263-5, 283 see also audiences validity, 87, 92, 100 value of colour, 64-5 vanishing point, 68 Vertigo, 159, 162, 163, 168, 173 video clips, 64 video games see computer games video recordings content analysis of, 95 see also films video-diaries, 318 video-documentation, 140, 311 viewers see audiences violence/conflict, news coverage of, 149, 155, 163—4, 170, 173—4, 183 vision, concept of, 2, 9 visitors, to museums and galleries, 45—6, 232—3, 236, 242—7 visual centrality of, 3 key concepts

vi sualcont . i on,1-7 cul tureandrepresentat debates,11—15 mat eri al i t yand affect,7-10 vi sualresearchmethods,15—16 vi sualcul ture,16—22 conceptof ,4 di fferenti ati ng,20—1 and di scourse,186—9 and research et hi cs,369-71 useoft erm,20 vi sualeconomy,11 vi sualmat eri al ssee i mages vi sualobj ect s defini t i on of ,274 et hnography of ,273—83 see also i mages vi suaIpl easure,156 castrat i on compl ex,156—61 mi rrorst age,161-5 vi sualresearch methods,15—16,307 see also phot odocument at i on;phot oel i ci t at i on; phot oessays vi sualt echnol ogi es defini ti on,25 i n museums and gal l eri es,238 see al sodi gi talt echnol ogi es;i nsti tut i onal t echnol ogi es vi sual i sat i ons data vi sual i sat i on,102,333—40,355 anddi gi t ali mages,304—5 vi sual i t y

conceptof ,23,20 and psychoanal ysi s,147—50 voyeuri sm,158—61,163,165 ways of seeing, 18-19, 20, 22-3, 32, 33, 38, 39 see also male gaze; visual pleasure websites disseminating research through, 347-51, 354 as genre, 28, 29 image banks, 53—4, 197—8 and internet advertising, 111 museum and gallery, 243 online infographics, 334 and television viewing, 279 Western representations, of non-Westerners, 94, 97 Wikipedia, 337-8 wipes, 74, 77 World Trade Centre attacks, 164, 173—4 World of Warc•• h. 17, 64 YouTube, 95, 294, 297-8, 299 zoom, in online montages, 103—4 zoom shots, 76

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GILLIAN ROSE is Professor of Cultural Geography at The Open Uni’versity...