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 1: Visual Dialogues Across Different Schools of Thought

Visual Dialogues Across Different Schools of Thought

Visual dialogues across different schools of thought
Luc Pauwels Dawn Mannay

This opening chapter provides an insight into the rationale for bringing together the second edition of The SAGE Handbook of Visual Research Methods. It reflects on the current state of the field and its challenges, before setting out the aims and scope of the current volume, as grounded in the first edition. This is followed by an overview of the individual sections and their chapters, examining the ways in which they connect to core themes in visual studies, methodologies and practices, housed within an ocularcentric culture (Jay, 1994) where visual and multimodal materials both represent and create our understandings ...

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