Pub Date : 2001-01-01DOI: 10.1080/14725860108583836
Chad Lackey
This study examines how film‐makers construct images of white‐collar crime in genre film. Data consist of twenty‐four white‐collar films in two genres: thrillers and comedies. Results indicate that images of white‐collar crime vary significantly by genre. Thrillers contain few visuals of white‐collar crimes and white‐collar offenders. Instead film‐makers use more familiar images of violence to create thrills. Comic film‐makers use standard sight gags to make images of white‐collar offenders and their crimes funny. When comic film‐makers find humor in the content of the subject matter, they construct images of white‐collar criminals and their crimes to clearly communicate the structure of each joke to the audience. Visual images of victims are not predominant in these films, especially in white‐collar comedies. The analysis reveals more than film‐making techniques. It begins to uncover cultural codes that frame white‐collar crime and illuminate its relative unimportance in the public arena, especially when compared to other crimes.
{"title":"visualizing white‐collar crime","authors":"Chad Lackey","doi":"10.1080/14725860108583836","DOIUrl":"https://doi.org/10.1080/14725860108583836","url":null,"abstract":"This study examines how film‐makers construct images of white‐collar crime in genre film. Data consist of twenty‐four white‐collar films in two genres: thrillers and comedies. Results indicate that images of white‐collar crime vary significantly by genre. Thrillers contain few visuals of white‐collar crimes and white‐collar offenders. Instead film‐makers use more familiar images of violence to create thrills. Comic film‐makers use standard sight gags to make images of white‐collar offenders and their crimes funny. When comic film‐makers find humor in the content of the subject matter, they construct images of white‐collar criminals and their crimes to clearly communicate the structure of each joke to the audience. Visual images of victims are not predominant in these films, especially in white‐collar comedies. The analysis reveals more than film‐making techniques. It begins to uncover cultural codes that frame white‐collar crime and illuminate its relative unimportance in the public arena, especially when compared to other crimes.","PeriodicalId":332340,"journal":{"name":"Visual Sociology","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128893581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2001-01-01DOI: 10.1080/14725860108583824
Edwin R. Page
This paper presents a photographic analysis of social change in a motorcycling culture using two different techniques of visual sociology. Both approaches investigate and inform about the social change taking place at an annual Bike Week and in the broader culture of the event's participants. First, repeat photographs of the same sites over time provide a systematic longitudinal comparison. Second, a visual essay is used to investigate the perspective of two long‐time participants. The article concludes with a discussion of substantive and methodological issues.
{"title":"Social change at bike week","authors":"Edwin R. Page","doi":"10.1080/14725860108583824","DOIUrl":"https://doi.org/10.1080/14725860108583824","url":null,"abstract":"This paper presents a photographic analysis of social change in a motorcycling culture using two different techniques of visual sociology. Both approaches investigate and inform about the social change taking place at an annual Bike Week and in the broader culture of the event's participants. First, repeat photographs of the same sites over time provide a systematic longitudinal comparison. Second, a visual essay is used to investigate the perspective of two long‐time participants. The article concludes with a discussion of substantive and methodological issues.","PeriodicalId":332340,"journal":{"name":"Visual Sociology","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122215961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2001-01-01DOI: 10.1080/14725860108583832
J. Wagner
T social psychologist William James reputedly held that there were two different but equally valid ways to go about "doing" science. You could try to avoid error and then seek the truth, or you could first seek the truth and then try to avoid error. James' characterization of a century or so ago is a good reminder of two first principles: all science involves a search for relatively reliable ways of identifying, observing, examining and talking about things that at least appear to be objective, external realities; and all science also depends on the subjective experience and knowledge-constructing talents of individual researchers and scientific communities.
{"title":"Does image‐based field work have more to gain from extending or from rejecting scientific realism? An essay in review","authors":"J. Wagner","doi":"10.1080/14725860108583832","DOIUrl":"https://doi.org/10.1080/14725860108583832","url":null,"abstract":"T social psychologist William James reputedly held that there were two different but equally valid ways to go about \"doing\" science. You could try to avoid error and then seek the truth, or you could first seek the truth and then try to avoid error. James' characterization of a century or so ago is a good reminder of two first principles: all science involves a search for relatively reliable ways of identifying, observing, examining and talking about things that at least appear to be objective, external realities; and all science also depends on the subjective experience and knowledge-constructing talents of individual researchers and scientific communities.","PeriodicalId":332340,"journal":{"name":"Visual Sociology","volume":"233 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116410937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2001-01-01DOI: 10.1080/14725860108583825
J. B. Brown
Academic and public interpretations of drag performance have been bound by the argument that drag queens reveal the non‐essential nature of gender but still reinforce the hegemonic gender order through portrayals of emphasized femininity. I offer a fresh perspective on professional drag queen performance by examining how it intersects with the gay masculinity of an accomplished performer. By incorporating visual research methods, life‐history analysis, and field observations, I find that drag performance is a salient way to reify aspects of gay masculinity that are otherwise rejected by the hegemonic gender order. When alternative masculinities are met with acceptance the hegemonic gender order is subverted and masculinity can be expanded in lasting ways. Researchers would do well to treat sexuality as a key component of gender in drag performances and the audience as an active participant.
{"title":"Doing drag","authors":"J. B. Brown","doi":"10.1080/14725860108583825","DOIUrl":"https://doi.org/10.1080/14725860108583825","url":null,"abstract":"Academic and public interpretations of drag performance have been bound by the argument that drag queens reveal the non‐essential nature of gender but still reinforce the hegemonic gender order through portrayals of emphasized femininity. I offer a fresh perspective on professional drag queen performance by examining how it intersects with the gay masculinity of an accomplished performer. By incorporating visual research methods, life‐history analysis, and field observations, I find that drag performance is a salient way to reify aspects of gay masculinity that are otherwise rejected by the hegemonic gender order. When alternative masculinities are met with acceptance the hegemonic gender order is subverted and masculinity can be expanded in lasting ways. Researchers would do well to treat sexuality as a key component of gender in drag performances and the audience as an active participant.","PeriodicalId":332340,"journal":{"name":"Visual Sociology","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129236705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2001-01-01DOI: 10.1080/14725860108583823
J. Prosser
R ecently I came across a photograph of a pair of Lee Cooper denim jeans on the front page of a newspaper supplement. The jeans were photographed in a flat formal style as though part of an exhibition on popular culture. I assumed the article (Abrams, 2001) that followed would be about dress codes, fashion icons, or advertising and therefore strewn with quotes from Bourdieu and Barthes. I was wrong. The article was accompanied by two more images. The first was a photograph taken in a factory in Tunisia where the jeans were made. It showed tottering piles of half-made jeans, lines of women working head down at their sewing machines, general confusion and clutter suggesting 'this is a hot house—cheap labour at work.' The second image, a map, illustrated where different elements of the jeans came from—the material was dyed in Milan using synthetic German indigo, the zip teeth made in Japan, the cotton from west Africa etc. The article moved on to more significant issues than those we normally invest in this particular piece of material culture, to explore globalisation, human geography, ethnography and work, gender, morality and ethics.
{"title":"Editor's introduction","authors":"J. Prosser","doi":"10.1080/14725860108583823","DOIUrl":"https://doi.org/10.1080/14725860108583823","url":null,"abstract":"R ecently I came across a photograph of a pair of Lee Cooper denim jeans on the front page of a newspaper supplement. The jeans were photographed in a flat formal style as though part of an exhibition on popular culture. I assumed the article (Abrams, 2001) that followed would be about dress codes, fashion icons, or advertising and therefore strewn with quotes from Bourdieu and Barthes. I was wrong. The article was accompanied by two more images. The first was a photograph taken in a factory in Tunisia where the jeans were made. It showed tottering piles of half-made jeans, lines of women working head down at their sewing machines, general confusion and clutter suggesting 'this is a hot house—cheap labour at work.' The second image, a map, illustrated where different elements of the jeans came from—the material was dyed in Milan using synthetic German indigo, the zip teeth made in Japan, the cotton from west Africa etc. The article moved on to more significant issues than those we normally invest in this particular piece of material culture, to explore globalisation, human geography, ethnography and work, gender, morality and ethics.","PeriodicalId":332340,"journal":{"name":"Visual Sociology","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126804764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2000-01-01DOI: 10.1080/14725860008583815
Juha Suonpää
Bear, wolf and wolverine—wild predators almost extinct by now—are gradually returning to the Finnish forests. During the last decade it has been extremely popular to photograph wild predators using carrion. Nature photographers go to great lengths trying to photograph predators in the wilderness while almost identical photos could be obtained with much less effort in a zoo. But the effort and daring required for photography in the wild underscores the importance of the photographer and adds value to the resulting photographs. Nature photographs are trophies and means for social respect. Photographing wild predators is a rite, an ordeal of initiation. It is a physical and emotional endeavour subjected to unwritten laws. Successful photographs of wild predators are pictures that embrace a socially defined aesthetic. These aesthetically uniform pictures provide a ticket to the growing social community of photographers. As a result public interest in nature is heightened, but only as far as it is tamed and controlled in colourful images.
{"title":"Taming predators through photography","authors":"Juha Suonpää","doi":"10.1080/14725860008583815","DOIUrl":"https://doi.org/10.1080/14725860008583815","url":null,"abstract":"Bear, wolf and wolverine—wild predators almost extinct by now—are gradually returning to the Finnish forests. During the last decade it has been extremely popular to photograph wild predators using carrion. Nature photographers go to great lengths trying to photograph predators in the wilderness while almost identical photos could be obtained with much less effort in a zoo. But the effort and daring required for photography in the wild underscores the importance of the photographer and adds value to the resulting photographs. Nature photographs are trophies and means for social respect. Photographing wild predators is a rite, an ordeal of initiation. It is a physical and emotional endeavour subjected to unwritten laws. Successful photographs of wild predators are pictures that embrace a socially defined aesthetic. These aesthetically uniform pictures provide a ticket to the growing social community of photographers. As a result public interest in nature is heightened, but only as far as it is tamed and controlled in colourful images.","PeriodicalId":332340,"journal":{"name":"Visual Sociology","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130432525","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2000-01-01DOI: 10.1080/14725860008583820
Horst Niesyto
This article advances my thoughts on a social‐aesthetic approach within the field of youth and social research. These reflections are not primarily grounded in traditional approaches of visual sociology and anthropology but emerged from the context of media‐educational youth research in Germany. The main assumption of this article is that qualitative youth and social research in particular, which has audio‐visual self‐productions as the object, should—in view of the increasing influence media has on our perception and the way how the reality is experienced—be open to concepts of subject‐related self‐presentations. First I make an attempt to formulate a social‐aesthetic theory which focuses on the media‐ethnographical exploration of symbolic milieus. Next, I introduce projects run by media‐educational youth researchers in Germany, emphasizing the question of conceptions and methods when working with adolescent video self‐productions. The final section reflects upon the quality, the validity and the hermeneutics of self‐produced videos.
{"title":"Youth research on video self‐productions reflections on a social‐aesthetic approach","authors":"Horst Niesyto","doi":"10.1080/14725860008583820","DOIUrl":"https://doi.org/10.1080/14725860008583820","url":null,"abstract":"This article advances my thoughts on a social‐aesthetic approach within the field of youth and social research. These reflections are not primarily grounded in traditional approaches of visual sociology and anthropology but emerged from the context of media‐educational youth research in Germany. The main assumption of this article is that qualitative youth and social research in particular, which has audio‐visual self‐productions as the object, should—in view of the increasing influence media has on our perception and the way how the reality is experienced—be open to concepts of subject‐related self‐presentations. First I make an attempt to formulate a social‐aesthetic theory which focuses on the media‐ethnographical exploration of symbolic milieus. Next, I introduce projects run by media‐educational youth researchers in Germany, emphasizing the question of conceptions and methods when working with adolescent video self‐productions. The final section reflects upon the quality, the validity and the hermeneutics of self‐produced videos.","PeriodicalId":332340,"journal":{"name":"Visual Sociology","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115537272","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2000-01-01DOI: 10.1080/14725860008583813
R. Gaede
This article reports on a study conducted to clarify whether visual rhetorical codes may be regarded as a significant readability barrier in a development communication setting. The semantic and pragmatic comprehension of three rhetorically encoded posters with a Tuberculosis theme were measured in a study population consisting of 150 high‐literate and 150 non‐literate adult clinic patients in Bloemfontein, South Africa. The results suggest that rudimentary rhetorical codes meant for the semantic level of comprehension (e.g. repetition, opposition, exchange of visual elements) are appropriate for a non‐literate target group, whereas advanced rhetorical articulations intended for the pragmatic level of comprehension (e.g. complex visual rhetorical premises and arguments) should be restricted to high‐literate target groups. In other words, the lower the literacy level of the target group, the lower the level of the visual rhetoric that should be used to engage the viewer.
{"title":"Visual rhetorical literacy In a development communication setting","authors":"R. Gaede","doi":"10.1080/14725860008583813","DOIUrl":"https://doi.org/10.1080/14725860008583813","url":null,"abstract":"This article reports on a study conducted to clarify whether visual rhetorical codes may be regarded as a significant readability barrier in a development communication setting. The semantic and pragmatic comprehension of three rhetorically encoded posters with a Tuberculosis theme were measured in a study population consisting of 150 high‐literate and 150 non‐literate adult clinic patients in Bloemfontein, South Africa. The results suggest that rudimentary rhetorical codes meant for the semantic level of comprehension (e.g. repetition, opposition, exchange of visual elements) are appropriate for a non‐literate target group, whereas advanced rhetorical articulations intended for the pragmatic level of comprehension (e.g. complex visual rhetorical premises and arguments) should be restricted to high‐literate target groups. In other words, the lower the literacy level of the target group, the lower the level of the visual rhetoric that should be used to engage the viewer.","PeriodicalId":332340,"journal":{"name":"Visual Sociology","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122420561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2000-01-01DOI: 10.1080/14725860008583814
Douglas Harper, P. Faccioli
This study examines how audiences in two cultures interpret advertising messages. Using photographs of public display ads in Bologna, Italy, the authors interviewed women in the United States and Italy to elicit their interpretations of advertising signs. The study draws upon semiotics and employs photo elicitation as its principle research method.
{"title":"“Small, silly insults,” mutual seduction and misogyny the interpretation of Italian advertising signs","authors":"Douglas Harper, P. Faccioli","doi":"10.1080/14725860008583814","DOIUrl":"https://doi.org/10.1080/14725860008583814","url":null,"abstract":"This study examines how audiences in two cultures interpret advertising messages. Using photographs of public display ads in Bologna, Italy, the authors interviewed women in the United States and Italy to elicit their interpretations of advertising signs. The study draws upon semiotics and employs photo elicitation as its principle research method.","PeriodicalId":332340,"journal":{"name":"Visual Sociology","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2000-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125437993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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