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This volume celebrates cellphilm as an emerging Participatory Visual Method which effectively and powerfully engenders learning and catalyses social change. The book outlines the method’s theoretical framework, the role of the educator and researcher, and ethical concerns of using this method, and critically explores issues which determine the production and dissemination of creative outputs. The authors demonstrate the emerging methodology of cellphilm and how it can be utilised from both pedagogical and methodological standpoints. Using examples of cellphilms created to understand social issues, this book illustrates how the method enables diverse populations to document their communities and realities using mobile devices. By exploring cellphilm as a growing method in participatory visual research, the work fills an important gap in the fields of critically engaged community-based research, pedagogy and higher education for scholars and community activists.
What’s a Cellphilm? explores cellphone video production for its contributions to participatory visual research. There is a rich history of integrating participants’ videos into community-based research and activism. However, a reliance on camcorders and digital cameras has come under criticism for exacerbating unequal power relations between researchers and their collaborators. Using cellphones in participatory visual research suggests a new way forward by working with accessible, everyday technology and integrating existing media practices. Cellphones are everywhere these days. People use mobile technology to visually document and share their lives. This new era of democratised media practices inspired Jonathan Dockney and Keyan Tomaselli to coin the term cellphilm (cellphone + film). The term signals the coming together of different technologies on one handheld device and the emerging media culture based on people’s use of cellphones to create, share, and watch media. Chapters present practical examples of cellphilm research conducted in Canada, Hong Kong, Mexico, the Netherlands and South Africa. Together these contributions consider several important methodological questions, such as: Is cellphilming a new research method or is it re-packaged participatory video? What theories inform the analysis of cellphilms? What might the significance of frequent advancements in cellphone technology be on cellphilms? How does our existing use of cellphones inform the research process and cellphilm aesthetics? What are the ethical dimensions of cellphilm use, dissemination, and archiving? These questions are taken up from interdisciplinary perspectives by established and new academic contributors from education, Indigenous studies, communication, film and media studies.
This book demonstrates how data from participatory visual methods can take people and communities beyond ideological engagement, initiating new conversations and changing perspectives, policy debates, and policy development. These methods include, for example, photo-voice, participatory video, drawing/mapping, and digital storytelling. Organised around a series of tools that have been used across health, education, environmental, and sociological research, Participatory Visual Methodologies illustrates how to maintain participant engagement in decision-making, navigate critical issues around ethics, track policies, and maximize the potential of longitudinal studies. Tools discussed include: Pedagogical screenings Digital dialogue devices Upcycling and ‘speaking back’ interventions Participant-led policy briefs An authoritative and accessible guide to how participatory visual methods and arts-based methods can influence social change, this book will help any postgraduate researcher looking to contribute to policy dialogue.
Girls and young women, particularly those from rural and indigenous communities around the world, face some of the most adverse social issues in the world despite the existence of protective laws and international treaties. Ethical Practice in Participatory Visual Research with Girls explores the potential of participatory visual method (PVM) for girls and young women in these communities, presenting and critiquing the everyday ethical dilemmas visual researchers face and the strategies they implement to address them, reflecting on principles of autonomy, social justice, and beneficence in transnational, indigenous and rural contexts.
The second, thoroughly revised and expanded, edition of The SAGE Handbook of Visual Research Methods presents a wide-ranging exploration and overview of the field today. As in its first edition, the Handbook does not aim to present a consistent view or voice, but rather to exemplify diversity and contradictions in perspectives and techniques. The selection of chapters from the first edition have been fully updated to reflect current developments. New chapters to the second edition cover key topics including picture-sorting techniques, creative methods using artefacts, visual framing analysis, therapeutic uses of images, and various emerging digital technologies and online practices. At the core of all contributions are theoretical and methodological debates about the meanings and study of the visual, presented in vibrant accounts of research design, analytical techniques, fieldwork encounters and data presentation. This handbook presents a unique survey of the discipline that will be essential reading for scholars and students across the social and behavioural sciences, arts and humanities, and far beyond these disciplinary boundaries. The Handbook is organized into seven main sections: PART 1: FRAMING THE FIELD OF VISUAL RESEARCH PART 2: VISUAL AND SPATIAL DATA PRODUCTION METHODS AND TECHNOLOGIES PART 3: PARTICIPATORY AND SUBJECT-CENTERED APPROACHES PART 4: ANALYTICAL FRAMEWORKS AND PERSPECTIVES PART 5: MULTIMODAL AND MULTISENSORIAL RESEARCH PART 6: RESEARCHING ONLINE PRACTICES PART 7: COMMUNICATING THE VISUAL: FORMATS AND CONCERNS
Offering a wealth of art-based practices, this volume invites readers to reimagine the joyful possibility and power of language and culture in language and literacy learning. Understanding art as a tool that can be used for decolonizing minds, the contributors explore new methods and strategies for supporting the language and literacy learning skills of multilingual students. Contributors are artists, educators, and researchers who bring together cutting-edge theory and practice to present a broad range of traditional and innovative art forms and media that spotlight the roles of artful resistance and multilingual activism. Featuring questions for reflection and curricular applications, chapters address theoretical issues and pedagogical strategies related to arts and language learning, including narrative inquiry, journaling, social media, oral storytelling, and advocacy projects. The innovative methods and strategies in this book demonstrate how arts-based, decolonizing practices are essential in fostering inclusive educational environments and supporting multilingual students’ cultural and linguistic repertoires. Transformative and engaging, this text is a key resource for educators, scholars, and researchers in literacy and language education.
Facilitating Community Research for Social Change asks: what does ethical research facilitation look like in projects that seek to move toward social change? How can scholars weave political and social justice through multiple levels of the research process? This edited collection presents chapters that investigate research facilitation in ways that specifically attempt to disrupt and challenge anti-Indigenous and anti-Black racism, ableism, homophobia, transphobia, patriarchy, and sexism to work toward social change. It also explores what it means to develop facilitation practices across multiple contexts and research settings, including specific facilitation methods considered by researchers working with visual and community-based methods with Black, Indigenous, and racialized communities. The complexities of how scholars negotiate decisions within their research with people and communities have an effect not only on how researchers construct their participants and communities, but also on the overall purpose of projects, the ways their projects are shared and disseminated, and what is learned in the doing of facilitation. This book will be of great interest to both emerging and established researchers working within the social sciences. It specifically attends to diverse fields within the social sciences that include health, media studies, environmental studies, social work, sociology, education, participatory visual research methodologies, as well as the evolving field of digital humanities.
Visual Encounters in the Study of Rural Childhoods brings together visual studies and childhood studies to explore images of childhood in the study of rurality and rural life. The volume highlights how the voices of children themselves remain central to investigations of rural childhoods. Contributions look at representations and experiences of rural childhoods from both the Global North and Global South (including U.S., Canada, Haiti, India, Sweden, Slovenia, South Africa, Russia, Timor-Leste, and Colombia) and consider visuals ranging from picture books to cell phone video to television.
Sonic Engagement examines the relationship between community engaged participatory arts and the cultural turn towards audio, sound, and listening that has been referred to as the 'sonic turn'. This edited collection investigates the use of sound and audio production in community engaged participatory arts practice and research. The popularity of podcast and audio drama, combined with the accessibility and portability of affordable field recording and home studio equipment, makes audio a compelling mode of participatory creative practice. This book maps existing projects occurring globally through a series of case study chapters that exemplify community engaged creative audio practice. The studies focus on audio and sound-based arts practices that are undertaken by artists and arts-led researchers in collaboration with (and from within) communities and groups. These practices include—applied audio drama, community engaged podcasting, sound and verbatim theatre, participatory sound art, community-led acoustic ecology, sound and media walks, digital storytelling, oral history and reminiscence, and radio drama in health and community development. The contributors interrogate the practical, political, and aesthetic potentialities of using sound and audio in community engaged arts practice, as well as its tensions and possibilities as an arts-led participatory research methodology. This book provides the first extensive analysis of what sound and audio brings to participatory, interdisciplinary, arts-led approaches, representing a vital resource for community arts, performance practice, and research in the digital age.