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BK

4th edition

Los Angeles ; London ; New Delhi ; Singapore ; Washington DC ; Melbourne : SAGE, 2016

xxiii, 432 stran : ilustrace (převážně barevné), portréty, plány ; 25 cm

ISBN 978-1-4739-4890-7 (brožováno)

Obsahuje bibliografie a rejstříky

001463566

CONTENTS // Figures and Tables xiv // About the Author xviii // Acknowledgements xix // Preface: Introducing the Fourth Edition xx // An Introduction to Visual Methodologies xxi // About the Companion Website xxiv // 1 RESEARCHING WITH VISUAL MATERIALS: A BRIEF SURVEY 1 // 1.1 An Introductory Survey of‘The Visual’ 1 // 1.2 Understanding the Social Effects of Visual Materials 16 // 1.3 Three Criteria for a Critical Visual Methodology 22 // Summary 23 // Further Reading 23 // 2 TOWARDS A CRITICAL VISUAL METHODOLOGY 24 // 2.1 Introducing the Four Sites of a Critical Visual Methodology: // Production, the Image Itself, its Circulation and its Audiencing 24 // 2.2 The Site of Production 27 // 2.3 The Site of the Image 32 // 2.4 The Site of Circulation 34 // 2.5 The Site of Audiencing 38 // Summary „ 46 // Further Reading 47 // 3 HOW TO USE THIS BOOK 48 // 3.1 Reading this Book Selectively on the Basis of Sites // and Modalities 49 // 3.2 Reading this Book Selectively on the Basis of Having // Found Some Images 50 // 3.3 Why You Should Also Read Books Other Than this One 52 // 3.4 How Each Chapter Works 52 // 3.5 A Quick Word on Finding Your Images 53 // 3.6 Another Quick Word, on Referencing and Reproducing // Your Images 54 // Companion Website 55 // x // CONTENTS // 4 ‘THE GOOD EYE’: LOOKING AT PICTURES USING // COMPOSITIONAL INTERPRETATION 56 // 4.1 Compositional Interpretation: An Introduction 56 // 4.2 Compositional Interpretation: Technologies and the Production

of the Image 61 // 4.3 Compositional Interpretation: The Compositionality of the // Image Itself 62 // 4.4 Compositional Interpretation: An Assessment 83 // Summary: Compositional Interpretation 84 // Further Reading 84 // Companion Website 84 // 5 CONTENT ANALYSIS AND CULTURAL ANALYTICS: // FINDING PATTERNS IN WHAT YOU SEE 85 // 5.1 Content Analysis and Cultural Analytics: An Introduction 85 // 5.2 Four Steps to Content Analysis 88 // 5.3 Doing Cultural Analytics 99 // 5.4 Content Analysis and Cultural Analytics: An Assessment 102 // Summary: Content Analysis 104 // Further Reading 104 // Companion Website 105 // 6 SEMIOLOGY: LAYING BARE THE PREJUDICES // BENEATH THE SMOOTH SURFACE OF THE VISIBLE 106 // 6.1 Semiology: An Introduction 106 // 6.2 Choosing Images for a Semiological Study 110 // 6.3 The Sign and its Meaning-Making Processes in // Mainstream Semiology 112 // 6.4 Making Meaning Socially: Social Semiotics 136 // 6.5 Semiology: An Assessment 142 // Summary: Semiology 145 // Further Reading 146 // Companion Website 146 // 7 PSYCHOANALYSIS: VISUAL CULTURE, VISUAL PLEASURE, // VISUAL DISRUPTION 147 // 7.1 Psychoanalysis and Visuality: An Introduction 147 // 7.2 A Longer Introduction to Psychoanalysis and Visuality: // Subjectivity, Sexuality and the Unconscious 151 // CONTENTS // XI // 7.3 How is Sexual Difference Visual 1: Watching Movies with // Laura Mulvey 155 // 7.4 How is Sexual Difference Visual 2: From the Fetish // to Masquerade 166 // 7.5 From the Voyeuristic

Gaze to the Lacanian Gaze: // Other Ways of Seeing 169 // 7.6 From the Disciplines of Subjection to the Possibilities // of Fantasy 174 // 7.7 Queer Looks 178 // 7.8 Reflexivity 180 // 7.9 Psychoanalysis and Visuality: An Assessment 181 // Summary: Psychoanalysis and Visuality 184 // Further Reading 184 // Companion Website 185 // 8 DISCOURSE ANALYSIS I: TEXT, INTERTEXTUALITY // AND CONTEXT 186 // 8.1 Discourse and Visual Culture: An Introduction 186 // 8.2 Distinguishing Between Discourse Analysis I and // Discourse Analysis II 189 // 8.3 Finding Your Sources for a Discourse Analysis I 194 // 8.4 Discourse Analysis I: The Production and Rhetorical // Organisation of Discourse 204 // 8.5 Discourse Analysis I and Reflexivity 215 // 8.6 Discourse Analysis I: An Assessment 217 // Summary: Discourse Analysis I 218 // Further Reading 219 // Companion Website 219 // 9 DISCOURSE ANALYSIS ?: INSTITUTIONS AND  // WAYS OF SEEING 220 // 9.1 Another Introduction to Discourse and Visual // Culture 220 // 9.2 Finding Your Sources for Discourse Analysis II 227 // 9.3 The Apparatus of the Gallery and the Museum 229 // 9.4 The Technologies of the Gallery and the Museum 233 // 9.5 The Visitor 244 // 9.6 Discourse Analysis II: An Assessment 250 // Summary: Discourse Analysis II 251 // Further Reading 251 // Companion Website 252 // xii // CONTENTS // 10 ?? AUDIENCE STUDIES AND BEYOND: ETHNOGRAPHIES OF // AUDIENCES, FANS AND USERS 253 // 10.1 Audience Studies: An Introduction 253 // 10.2 Audiences,

Fans and Users 257 // 10.3 Audience Studies Researching Audiences and Fans 265 // 10.4 Ethnographies of Visual Objects 273 // 10.5 Ethnographic Studies of Audiencing: An Assessment 283 // Summary: Audience Studies 286 // Further Reading 287 // Companion Website 287 // 11 DIGITAL METHODS: DIGITAL IMAGES, DIGITALLY ANALYSED 288 // 11.1 Digital Methods: An Introduction 288 // 11.2 How to Access Digital Objects for Digital Methods 293 // 11.3 Some of the Questions that Digital Methods Examining // Digital Images Might Usefully Ask 297 // 11.4 What are the Ethical Issues Involved in Using Digital Methods? 301 // 11.5 Digital Methods: An Assessment 303 // Summary: Digital Methods 306 // Companion Website 306 // 12 MAKING IMAGES AS RESEARCH DATA: // PHOTO-DOCUMENTATION AND PHOTO-ELICITATION 307 // 12.1 Making Images as Research Data: An Introduction 307 // 12.2 Photo-documentation 310 // 12.3 Photo-elicitation 314 // 12.4 Making Photographs as Research Data: An Assessment 327 // Summary: Making Images as Research Data 328 // Further Reading 329 // Companion Website 329 // 13 USING IMAGES TO DISSEMINATE RESEARCH FINDINGS: // CIRCULATION AND AUDIENCING 330 // 13.1 Using Images to Disseminate Research: An Introduction 330 // 13.2 Data Visualisation 333 // 13.3 Photo-essays 340 // 13.4 Films and Videos 345 // 13.5 Multimedia Websites 347 // CONTENTS // • •• // XIII // 13.6 Using Images to Disseminate Research: An Assessment 352 // Summary: Using Images to Disseminate Research 356

Further Reading 356 // Companion Website 356 // 14 RESEARCH ETHICS AND VISUAL MATERIALS 357 // 14.1 Research Ethics and Visual Materials: An Introduction 357 // 14.2 Anonymity and Confidentiality 360 // 14.3 Consent 362 // 14.4 The Formal Framework: Regulations and Committees 366 // 14.5 Copyright 367 // 14.6 The Researcher’s Own Moral Framework 369 // 14.7 Conclusions: Ethics, Visual Research and Contemporary // Visual Culture 369 // Summary: Research Ethics and Visual Materials 371 // Further Reading 372 // Companion Website 372 // 15 VISUAL METHODOLOGIES: A REVIEW 373 // 15.1 Introduction 373 // 15.2 Sites, Modalities and Methods 373 // 15.3 Mixing Methods 377 // USEFUL READING ON VARIOUS VISUAL MATERIALS 379 // Fine Art 379 // Photography 379 // Film 380 // Advertising  380 // Television 380 // Mass Media 380 // Digital Media 381 // References 382 // Key Terms 413 // Name Index 416 // Subject Index 420