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 43: Making Arguments with Images: Visual Scholarship and Academic Publishing

Making Arguments with Images: Visual Scholarship and Academic Publishing

Making arguments with images: visual scholarship and academic publishing
Darren Newbury

Images seem to speak to the eye, but they are really addressed to the mind. They are ways of thinking, in the guise of ways of seeing. (Duff, 1975)


In the context of this volume it seems appropriate to begin with a pedagogic story. My own visual education began, formally at least, with a vocational diploma in photography. The incident I recall took place early on in the course. I happened to be wandering along the corridor holding in my hand some 35 mm black-and-white negatives I had developed. One of my tutors, heading in the opposite direction, stopped and challenged me. ...

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