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; and PART 7: COMMUNICATING THE VISUAL: FORMATS AND CONCERNS.

Chapter 38: Visual and Affective Analysis of Social Media

Visual and Affective Analysis of Social Media

Visual and affective analysis of social media
Kate Marston

Introduction

Social media is a key facet of contemporary visual culture, with many platforms, such as Instagram, Snapchat, Tumblr and YouTube, framed around the primacy of the visual. From selfies and Graphics Interchange Format (GIF) to memes and emojis, the current social and mobile media landscape is saturated with multimodal forms of expression. Whilst many of these forms are not new, their prominence and extension through everyday mediated encounters have altered their significance (Highfield and Leaver, 2016). For example, geographer and visual cultures scholar Gillian Rose (2016: 288) notes that the speed at which content circulates online has ‘made mobility more central to understanding contemporary visual ...

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