Visual Methodologies: An Introduction to Researching with Visual Materials

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There is the site of production, the site of the image itself (what the image literally shows) and finally the site where the image is seen.

Nevertheless, there was a lot of stuff on woman being a text on display for the male gaze – and I think that says much about our culture and how we need to view images if we are to understand them.Firstly, there is the problem she highlights in the very first line of this book, “There’s an awful lot of hype around ‘the visual’ these days. The problem is that our culture is so obsessed with the individual that we often confuse the making of the image with the maker of the image. Each chapter retains its rigorous examination and demonstration of an individual methodology, while continuing to be clear in structure and lucid in style. It refers to groups of statement which structure the way a thing is thought, and the way we act on the basis of that thinking. But the most exciting, startling and perceptive critics of visual images don’t in the end depend entirely on a sound methodology.

They were just casually there in the background, the viewer hurried past them much in the way that Andor was hurrying. We surely need to theorise digital visual culture in ways that could include the huge variety of different kinds of softimages and their diverse effects – like digital twins, for example, or movie VFX – rather continuing to generalise from the invisuality of social media platforms, important as that is. Not least, that using AI to generate these sorts of illustrative images – if that’s what was done – is surely much cheaper to the developer than paying a visual artist to do the work. Digitally-produced images of cities also feature in a key scene in the movie where one of the main characters finally accesses a new apartment provided by the company wanting to redevelop the Kitchen. Rose's chapter on "audience studies and beyond" reviews the long tradition of television audience studies before turning to new studies, including ethnographies of family photo worlds, mass media viewing, and other forms of viewing in society.

And the streets of the London we see in the movie are full of billboards picturing new developments in just that style. The next is referred to as systemic – that is, you pick every forth image or every image in every forth edition.

It examines what images are trusted by young people across Europe, how health influencers try to create trust-worthy images, and what role the different platform affordances play. She starts by saying that there are five aspects to visual culture – images do something, even if not in a way that is easy to translate into spoken language. This work culminated in a book co-authored with Monica Degen, The New Urban Aesthetic: Digital Experiences of Urban Change (2022). Hoelzl and Marie work through a very productive definition of digital images as images that are co-constituted with software; Rubinstein and Sluis explore the networking of photos; Mackenzie and Munster coin the useful term ‘invisuality’ to refer to the algorithmic analysis of the vast banks of images collated by social media platforms; and Beller points to the political economy driving those same platforms.Representation no longer matters for critique, apparently, because representational imagery (ie photography) has been superceded by algorithmic computation. SAGE cannot take responsibility for the changing content or nature of linked sites, as these sites are outside of our control and subject to change without our knowledge.