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More About This Textbook
Overview
The Third Edition of An Introduction to Researching with Visual Materials, a bestselling critical introduction to the study and analysis of visual culture, has been fully revised and updated. Each chapter retains its rigorous examination and demonstration of an individual methodology, while continuing to be clear in structure and lucid in style. Reflecting changes in the way society consumes and creates its visual content, new features includea companion website featuring additional examples of digital and social media and moving images, pedagogical enhancements, additional chapters and expanded coverage on social and new media, and how to use visual materials for research and research presentation, and an expanded focus on how each method can be used in relation to a range of different visual materials.
A now classic text, the book appeals to undergraduates, graduates, researchers and academics in all subjects looking to understand and clearly grasp the complex debates and ideas in visual analysis and interpretation.
Editorial Reviews
From the Publisher
If you need to carry out research into visuals then Rose's book provides straight forward practical assistance for how to do so. Along with a history of this emerging field she explains clearly how we can deal with the visual from diverse approaches such as content analysis, semiotics, psychoanalysis and discourse analysis, all explained carefully, using examples, in terms of the stages of a research project. This new edition will be key material for undergraduate studiesDavid Machin
Cardiff University
Clear, comprehensive, theoretically informed, and up to date, Visual Methodologies is an excellent guide to the rapidly growing field of visual research
Theo van Leeuwen
University of Technology, Sydney
Substantially updated to include a wide range of visual media examples, Gillian Rose's Visual Methodologies remains the authoritative introductory text on the methods of visual research. Conveying the richness and excitement of visual culture research, Rose expertly navigates across a range of methodologies, explaining in detail their particular usefulness and limitations through practical examples. For anyone already familiar with Visual Methodologies, this third edition offers a significant reworking of previous content, to include developments in the field of audience/fan cultures, digital media, ethics and image production as research practice. As such, Rose demonstrates the evolving nature of visual research and its methods, and reminds us of the passion involved in its study. It is a must buy for students and scholars alike
Julie Doyle
Principal Lecturer in Media Studies, University of Brighton
As of its first edition Visual Methodologies established itself as one of the better books to obtain a well-balanced introductory overview of different approaches to visual analysis and each revision further adds to its quality.
Rose's book is mainly (except for one chapter) focused on methodologies for analyzing 'found' or pre-existing images (as opposed to producing visual data or analyzing visual phenomena that are not images) but it does that in a very systematic and practical manner, clearly highlighting the exact modus operandi as well as the specific strengths and weaknesses of each of the methods or analytical frameworks. Of particular value is the attention devoted to mixing different methods, as far too often methods and theories are presented as distinct and even incompatible options
Luc Pauwels
Professor of Visual Studies, University of Antwerp
An accessible text book that provides the student of visual culture necessary tools and insights on how to analyze images. The book is unique in bridging a wide range of methodologies from the humanities and the social sciences. Rose's in-depth and systematic discussion of theories and methods, as well as masterful handling of case studies and examples, will provide the reader with a valuable overview
Anneke Smelik
Professor of Visual Culture, Radboud University Nijmegen
Gillian Rose has provided a welcome overview of the state of the field. Visual Methodologies succeeds both as an introductory text, certain to be widely adopted in the classroom, and as a sophisticated refresher course for those who have followed the rapid maturation of this remarkable interdisciplinary discourse
Professor Martin Jay
University of California, Berkeley
Product Details
Meet the Author
My research interests lie broadly within the field of visual culture. I'm interested in visuality as a kind of practice, done by human subjects in collaboration with different kinds of objects and technologies.
Monica Degen, Clare Melhuish and I are starting a new ESRC-funded project in autumn 2011. Architectural atmospheres, branding and the social: the role of digital visualizing technologies in contemporary architectural practice is a two-year ethnographic study of how digital visualizing technologies are being used by architects in two large studios in London, both as part of their design process but also as a way of taking their designs through the planning process.
Other work is extending my interest in subjectivities, space and visual practices by exploring experiences of designed urban spaces. I have completed the ESRC-funded project Urban aesthetics: a comparison of experiences in Milton Keynes and Bedford town centres (ESRC grant number RES-062-23-0223) with Dr Monica Degen at Brunel University, in which we compared how people experienced two rather different town centres: Milton Keynes and Bedford. Find more information about the project on the Urban Experience website.
The long-term project Doing Family Photography: The Domestic, The Public and The Politics of Sentiment resulted in a book from Ashgate Press in 2010. I've approached family snaps by thinking of them as objects embedded in a wide range of practices. I've been interviewing women with young children about their photos for a long time, and more recently I've looked at the politics and ethics of family snaps moving into more public arenas of display when the people they picture are the victims of violence. The book explores the different 'politics of sentiment' in which family snaps participate in both their domestic spaces in the public space of the contemporary mass media.
I'm also interested in more innovative ways to produce social science research, especially using visual materials. I was involved in organising the ESRC Seminar Series 'Visual Dialogues: New Agendas in Inequalities Research' (2010-2012). Please visit the Visual Dialogues project website for more details.
I'm a member of the Open Space Research Centre.
Table of Contents
List of Figures xi
About the Author xv
Acknowledgements xvi
Preface: introducing the third edition of this book xvii
About the companion website xxi
Chapter 1 Researching with Visual Materials: A Brief Survey 1
1.1 An introductory survey of 'the visual' 1
1.2 Understanding the social effects of visual materials 11
1.3 Three criteria for a critical visual methodology 16
Summary 17
Further reading 18
Chapter 2 Towards a Critical Visual Methodology 19
2.1 The three sites of production, the image itself and its audiencing 19
2.2 The site of production 20
2.3 The site of the image 27
2.4 The site of audiencing 30
Summary 40
Further reading 40
Chapter 3 How to Use this Book 41
3.1 Reading this book selectively on the basis of sites and modalities 42
3.2 Reading this book selectively on the basis of having found some images 43
3.3 Why you should also read books other than this one 45
3.4 How each chapter works 46
3.5 A quick word on finding your images 47
3.6 Another quick word, on referencing and reproducing your images 48
On the companion website 50
Chapter 4 The Good Eye': Looking at Pictures Using Compositional Interpretation 51
4.1 Compositional interpretation: an introduction 51
4.2 Doing compositional interpretation: technologies and the production of the image 56
4.3 Doing compositional interpretation: the compositionality of the image itself 58
4.4 Compositional interpretation: an assessment Summary 79
Further reading 79
On the companion website 80
Chapter 5 Content Analysis: Counting what you (Think You) See 81
5.1 Content analysis: an introduction 81
5.2 Four steps to content analysis 87
5.3 Content analysis: an assessment 101
Summary 103
Further reading 104
On the companion website 104
Chapter 6 Semiology: Laying Bare the Prejudices Beneath the Smooth Surface of the Beautiful 105
6.1 Semiology: an introduction 105
6.2 Choosing images for a semiological study 109
6.3 The sign and its meaning-making processes in mainstream semiology 112
6.4 Making meaning socially: social semiotics 135
6.5 Semiology: an assessment 143
Summary 147
Further reading 147
On the companion website 148
Chapter 7 Psychoanalysis: Visual Culture, Visual Pleasure, Visual Disruption 149
7.1 Psychoanalysis and visuality: an introduction 149
7.2 A longer introduction to psychoanalysis and visuality: subjectivity, sexuality and the unconscious 152
7.3 How is sexual difference visual 1: watching movies with Laura Mulvey 157
7.4 How is sexual difference visual 2: from the fetish to masquerade 168
7.5 From the voyeuristic gaze to the Lacanian Gaze: other ways of seeing 172
7.6 From the disciplines of subjection to the possibilities of fantasy 177
7.7 Queer looks 181
7.8 Reflexivity 183
7.9 Psychoanalysis and visuality: an assessment 185
Summary 188
Further reading 188
On the companion website 188
Chapter 8 Discourse Analysis I: Text, Intfrtextuality and Context 189
8.1 Discourse and visual culture: an introduction 189
8.2 An introduction to discourse analysis I and discourse analysis II 192
8.3 Finding your sources for a discourse analysis I 197
8.4 Discourse analysis I: the production and rhetorical organisation of discourse 209
8.5 Discourse analysis I and reflexivity 221
8.6 Discourse analysis I: an assessment 224
Summary 225
Further reading 225
On the companion website 226
Chapter 9 Discourse Analysis II: Institutions and Ways of Seeing 227
9.1 Another introduction to discourse and visual culture 227
9.2 Finding your sources for discourse analysis II 236
9.3 The apparatus of the gallery and the museum 237
9.4 The technologies of the gallery and museum 242
9.5 The visitor 251
9.6 Discourse analysis II: an assessment 257
Summary 259
Further reading 259
On the companion website 260
Chapter 10 To Audience Studies and Beyond: Ethnographies of Television Audiences, Fans and Users 261
10.1 Audience studies: an introduction 261
10.2 Audiences, fans and users 267
10.3 Audience studies researching audiences and fans 274
10.4 Ethnographies of visual objects 283
10.5 Ethnographic studies of audiencing; an assessment 291
Summary 295
Further reading 296
On the companion website 296
Chapter 11 Making Photographs as Part of a Research Project: Photo-Documentation, Photo-Elicitation and Photo-Essays 297
11.1 Making photographs as part of a research project: an introduction 297
11.2 Photo-documentation 301
11.3 Photo-elicitation 304
11.4 Photo-essays 317
11.5 Making photographs as part of a research project: an assessment 325
Summary 326
Further reading 327
On the companion website 327
Chapter 12 Ethics and Visual Research Methodologies 328
12.1 An introduction to research ethics and visual materials 328
12.2 Consent, anonymity, copyright 331
12.3 Consent 332
12.4 Anonymity 337
12.5 Copyright 339
12.6 Conclusions: ethics, visual research and contemporary visual culture 340
Summary 343
Further reading 344
On the companion website 344
Chapter 13 Visual Methodologies: A Review 345
13.1 Introduction 345
13.2 Sites, modalities and methods 345
13.3 Mixing methods 349
Useful reading on various visual materials 351
References 354
List of key terms 376
Name Index 378
Subject Index 380