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Abstract

The paper presents the field of Visual Sociology as an approach that makes use of photographs, films, documentaries, videos, to capture and assess aspects of social life and social signals. It overviews some relevant works in the field, it deals with methodological and epistemological issues, by raising the question of the relation between the observer and the observed, and makes reference to some methods of analysis, such as those proposed by the Grounded Theory, and to some connected tools for automatic qualitative analysis, like NVivo. The relevance of visual sociology to the study of social signals lies in the fact that it can validly integrate the information, introducing a multi-modal approach in the analysis of social signals.
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... The materials collected (films, photographs, scripts) have been studied following the techniques of visual content analysis, 21 in order to undertake grounded theory research, 22 in which the 'object' (the film) becomes the 'subject' or case study. 23 In order to analyse the huge and diverse volume of material NVivo software was used: a CAQDAS (Computer-assisted Qualitative Data Analysis Software) tool that allows the computerised analysis of texts and audio-visual material and their continuous comparison through node matrices that cross-reference the films and their codification within each of the categories. 24 In this way, the researcher can visualise the documents, assign them the emerging categories and compile them for further analysis (see Figure 1). ...
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This paper aims to demonstrate that Hollywood film-induced tourism strategies also resonated in Spain in the 1950s, coinciding with the arrival of large contingents of American tourists in historical European cities. The use of these techniques, at a key moment of the diffident opening-up of Franco's regime, was adopted as a new and promising means to diffuse the traditionally Andalusian-inspired brand, combining the wit of Bienvenido Míster Marshall with the flamboyance of Duende y Misterio del Flamenco (both winners at Cannes 1953), and taking as a model pioneering films such as Roman holiday, 1953 and Summertime, 1955. To this end, the promotional strategies of 6 films featuring tourists and shot in Andalusia during the period 1953–1959 are analysed. The results, computerised using NVivo software, suggest, not only the use of wit and flamboyance, but also the display of inductive techniques such as the depiction of an open tourist context, the mobilisation of tourist celebrities (Antonio ‘the dancer’, Pedro de Córdoba, Pastora Imperio, Dolores Vargas or Carmen Sevilla), as well as the portrayal of Spanish culture for foreign tourists in search of authenticity, with characters performed by international players (Geneviève Page, Merle Oberon, Vittorio De Sica or Ludmilla Tchérina).
... While there is overlap, all six sections helped record a variety of facets to the cultural assemblage. By supplementing entries in my field notes with photographs taken via my mobile phone camera, I heed the call from Harper (2012) to incorporate visual sociology into ethnographic research design, thereby recognizing the salient role of the visual in meaning-making processes for social actors with sense of sight (Cipriani and Del Re 2012). As selective representations, capsules of times and spaces related to incidents in my narrative, these photographs invite my readers to take a vicarious journey of their own, and help elicit relatable capsules of times and spaces from their own lives. ...
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Over the past year, COVID-19 and the restrictions imposed in its wake have meant that a range of research methodologies involving social contact could no longer be pursued. Whilst this time has been challenging, this article aims to showcase how it nonetheless presents opportunities for methodological innovation that can be carried forward into the future. Drawing upon an autoethnographic dissertation that sought to conceptualize the researcher’s lived experience in Scotland’s lockdown as an assemblage that was situated within, and intersected with, the wider “lockdown cultural assemblage,” it proceeds chronologically from how the research began to inductively drawn findings on shifts to lived experience produced by the lockdown across five interrelated dimensions to lived experience: embodiment, spatiality, temporality, a changing vocabulary of sociality, and narratological environment and broader context. In recounting this journey, it demonstrates how assemblage theory can both benefit from, as well as transform, autoethnography as its primary methodological strategy.
... The study of the material collected has been based on content analysis of visual data (Rose, 2012), performing consistent grounded theory research (Strauss & Corbin, 1999) through the systematic analysis of films, photographs and texts from the standpoint of visual sociology (Cipriani & Del Re, 2012). In this regard, a decision was made to use NVivo to visualise the film sampling, to detect every mention of the three aforementioned categories and codify them, gathering the results from the four pre-established periods (see Figure 1). ...
Article
The main aim of this paper is to reveal how the image of Andalusian women was fossilised and re-imagined for tourism during a decisive timeframe (1905–1975), to wit, how Bizet's most well-known heroine became a reified embodiment of Spanish women by turning ‘Carmen’ into a highly domesticated folkloric singer, a symbolic doll. To understand how this process was showcased in cinemas, a sampling of 104 films featuring tourists has been analysed using NVivo software, detecting every mention in their plots of specific categories such as those connected with Andalusian women in folkloric films (Labanyi, J. 2004. Lo andaluz en el cine del franquismo: los estereotipos como estrategia para manejar la contradicción. Sevilla: Centro de Estudios Andaluces. https://www.centrodeestudiosandaluces.es/publicaciones/lo-andaluz-en-el-cine-del-franquismo-los-estereotipos-como-estrategia-para-manejar-la-contradiccion): ‘Spanish Gypsies’ and ‘Flamenco World’. A first approach to the sampling suggests that the interrelationship between these categories intensified in the 1920s and 1930s, the first period in which cinema was deliberately used as political propaganda by Spanish filmmakers, the aim being to promote tradition in the lead-up to the 1929 Ibero-American Exposition in Seville. The increasing relevance of the category of ‘Andalusian Women’ can also be perceived during early Francoism, which is key evidence for the concept of reification of the female Gypsy dancer for tourism purposes and the transformation of ‘Carmen’ into a living, standardised Spanish souvenir during the developmentalist period.
... Visual research methods have a strong link with technology, with new technologies contributing to, and informing our knowledge about social worlds and actors (Cipriani and Del Re 2012). Emerging technologies have the potential to produce 'new, innovative, reflexive, and theoretically informed' research (Pink 2003, p. 191), through their ability to accommodate different audiences and purposes. ...
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Despite increased efforts within child wellbeing research to include children’s perspectives in our knowledge of child wellbeing, young children’s voices continue to be largely excluded. As the transition to school is widely understood as a key time to assess child wellbeing, preschool aged children are a frequent target of child wellbeing indicator use, making their exclusion from child wellbeing knowledge problematic. This study sought to redress preschool aged children’s exclusion from child wellbeing indicator research through investigating their perspectives of wellbeing. Using a citizen-child approach to participatory research, three-to-five-year-old children attending eight diverse early childhood education and care services in Australia shared their experiences and understandings of wellbeing. Children’s accounts were compared to adult derived child wellbeing frameworks to determine the way children’s accounts accorded and differed from current conceptualisations. The findings evidenced that young children’s accounts further validated current adult derived child wellbeing indicators. Additionally, children’s accounts uncovered two novel indicators yet to be explored in relation to child wellbeing social indicator frameworks: opportunities for play, and young children’s agency. The role of agency and play in children’s conceptualisations of wellbeing are considered in light of contemporary empirical research and will be of keen interest to those education and public health professionals and policy-makers concerned with improving child wellbeing outcomes.
... Este soft ware pertenece al grupo de herramien- tas CAQDAS (Computer-assisted Qualitative Data Analysis Soft ware) que, a través de un sistema informatizado de codifi cación de contenidos y la com- paración constante de los datos por medio de matrices de nodo, logran crear lo que se ha denominado como "teoría fundamentada" o "grounded theory", ayudando al investigador a superar el sistema tradicional de colores y fi chas. El presente estudio se ha realizado basándose en el análisis sistemático de fi lms, fotografías y textos desde el campo de la Sociología Visual en las que el "objeto" se convierte en "sujeto" que proponen Cipriani & Del Re (2012), así como en la aplicación de técnicas de análisis mixto al ámbito del turismo ( Loulanski & Loulanski, 2011;Fan, Qiu Zhang et al, 2017). ...
... Este soft ware pertenece al grupo de herramien- tas CAQDAS (Computer-assisted Qualitative Data Analysis Soft ware) que, a través de un sistema informatizado de codifi cación de contenidos y la com- paración constante de los datos por medio de matrices de nodo, logran crear lo que se ha denominado como "teoría fundamentada" o "grounded theory", ayudando al investigador a superar el sistema tradicional de colores y fi chas. El presente estudio se ha realizado basándose en el análisis sistemático de fi lms, fotografías y textos desde el campo de la Sociología Visual en las que el "objeto" se convierte en "sujeto" que proponen Cipriani & Del Re (2012), así como en la aplicación de técnicas de análisis mixto al ámbito del turismo ( Loulanski & Loulanski, 2011;Fan, Qiu Zhang et al, 2017). ...
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'From The Passion of the Christ to the presumed 'clash of civilizations', religion's role in culture is increasingly contested and mediated. Key Words in Religion, Media, and Culture is a welcome and interdisciplinary contribution that maps the territory for those who aim to make sense of it all. Highlighting the important concepts guiding state-of-the-art research into religion, media, and culture, this book is bound to become an important and frequently consulted resource among scholars both seasoned and new to the field.' -Lynn Schofield Clark. 'David Morgan has assembled here a fine team of scholars to prove beyond a doubt that the intersections of religion, media, and culture constitute one of the most stimulating fields of inquiry around today...This highly useful and theoretically sophisticated text will likely assume 'ritual' status in this emergent field.' - Rosalind I. J. Hackett, University of Tennessee, US. 'This volume is a major intervention in the literature on religion, media and culture. Drawing together leading international scholars, it offers a conceptual map of the field to which students, teachers and researchers will refer for many years to come. The publication of Key Words in Religion, Media and Culture is a significant moment in the formation of this area of study, and sets a standard for cross-disciplinary collaboration and theoretical and methodological sophistication for future work in this area to follow.' - Gordon Lynch, Birkbeck College, University of London, UK. 'This book offers a range of refreshing essays on the relationships between media and religion. Its selected keywords open doors to understanding contemporary society. The cultural perspectives on mediation and religious practices give some illuminating and surprising analyses.' - Knut Lundby, University of Oslo, Norway. © 2008 David Morgan, editorial matter and selection, individual contributors for their contributions. All rights reserved.