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Cham : Springer International Publishing AG, 2021

1 online resource (355 pages)

ISBN 9783030676087 (electronic bk.)

ISBN 9783030676070

IMISCOE Research Ser.

Print version: Nikielska-Sekula, Karolina Visual Methodology in Migration Studies Cham : Springer International Publishing AG,c2021 ISBN 9783030676070

Chapter 2: "Have You Just Taken a Picture of Me?": Theoretical and Ethical Implications of the Use of Researcher-Produced Photography in Studying Migrant Minorities -- 2.1 Introduction -- 2.2 Methodology and Research Context -- 2.3 Theoretical Implications of the Use of Photography in the Research Process -- 2.3.1 Realist-Conventionalist Dilemma -- 2.3.2 Place-Based Photographs -- 2.3.3 Research Context as a Finding -- 2.3.4 Positionality -- 2.4 Ethical Challenges -- 2.4.1 What to Display and What to Hide -- 2.4.2 Changing Ethical Standards in Different Localities -- 2.4.3 Anonymity Protection vs. Agency -- 2.5 Conclusions -- References -- Chapter 3: Migrants’ Mental Maps: Unpacking Inhabitants’ Practical Knowledges in Lisbon -- 3.1 Introduction -- 3.2 Working with Mental Maps in Urban Contexts ---

3.3 Unpacking Migrants’ Practical Knowledges: Mental Maps and Urban Integration -- 3.4 Mental Maps as Holograms -- References -- Chapter 4: On the Use of Visual Methods to Understand Local Immigration Politics -- 4.1 Introduction -- 4.2 Filming in Israel.

Chapter 2: "Have You Just Taken a Picture of Me?": Theoretical and Ethical Implications of the Use of Researcher-Produced Photography in Studying Migrant Minorities -- 2.1 Introduction -- 2.2 Methodology and Research Context -- 2.3 Theoretical Implications of the Use of Photography in the Research Process -- 2.3.1 Realist-Conventionalist Dilemma -- 2.3.2 Place-Based Photographs -- 2.3.3 Research Context as a Finding -- 2.3.4 Positionality -- 2.4 Ethical Challenges -- 2.4.1 What to Display and What to Hide -- 2.4.2 Changing Ethical Standards in Different Localities -- 2.4.3 Anonymity Protection vs. Agency -- 2.5 Conclusions -- References -- Chapter 3: Migrants’ Mental Maps: Unpacking Inhabitants’ Practical Knowledges in Lisbon -- 3.1 Introduction -- 3.2 Working with Mental Maps in Urban Contexts ---

Visual Methodology in Migration Studies -- Preface -- Acknowledgements -- Contents -- List of Figures -- About the Authors -- Chapter 1: Introduction -- 1.1 On the Value of Images in Academic Research -- 1.1.1 Realism of Still and Moving Images: From Art to Research -- 1.1.2 Context, Manipulation, and Positionality - Towards the "Objectivity" of Visual Research -- 1.2 Conveying Sensorial Experiences in the Field of International Migrations -- 1.2.1 International Migrations as a Visual Culture -- 1.2.2 Beyond the Visual -- 1.2.3 Reaching Out -- 1.3 Places and Bodies, Storytelling, Participation, and Representation -- 1.3.1 Places and Bodies -- 1.3.2 Storytelling -- 1.3.3 Participation -- 1.3.4 Representations -- 1.4 Before We Move onto the Next Parts -- References -- Part I: Places and Bodies ---

11.2 "Who Is Behind Camera?": Reflecting Photography Along Borders -- 11.3 Photovoice Methodology -- 11.4 "I Took a Photo of the "Game" Because I Wanted to Show You My Life Here" -- 11.5 Conclusions: Re-Thinking Photography and Participation in Violence and Migration Research -- References -- Chapter 12: Crafting an Event, an Event on Craft. Working Together to Represent Migration Experiences -- 12.1 Introduction -- 12.2 Genesis, Craft of the Event and Dissemination -- 12.2.1 Genesis and Craft of the Event -- 12.2.2 Concrete Construction of the Event -- 12.2.3 Dissemination of the Call and Reception -- 12.3 Crossing Practices to Reinvent Migrations’ Representations -- 12.3.1 A Hybrid Programme -- 12.3.2 Migrations’ Representations: Co-creation, Stakes and Intentions -- 12.3.2.1 Nos Super Heros (2018) -- 12.3.2.2 Blue Sky from Pain (2016) ---

14.3 The Case Study: NDLON, the Jornaleros del Norte and Immigrant Activism in Los Angeles -- 14.4 The Process of Filming: Access, Role in the Field and Reactions -- 14.5 Using Video to Record Micro-interactions in the Field -- 14.6 Sequence Analysis -- 14.7 Reactivity and the Use of Video to Generate Different Insights and Data -- 14.8 Conclusion -- References -- Chapter 15: In the Eye of the Beholder? Minority Representation and the Politics of Culture -- 15.1 Introduction: On Representation(s) -- 15.2 Context and Case Studies -- 15.2.1 The Expatriate Archive Centre -- 15.2.2 The European Roma Institute for Arts and Culture -- 15.2.3 Bunkers -- 15.3 Representation "of": Which Stories, and How to Tell Them -- 15.4 Representation "by": Whose Voices Shape the Narrative -- 15.5 Representation "for": Culture and Knowledge for Whom? ---

6.6.2 Step 2 - Recognize the Analytical Potential of the Editing Room -- 6.6.3 Step 3 - Stimulate Collective Genius -- 6.7 Conclusion -- References -- Chapter 7: Migrant Cine-Eye: Storytelling in Documentary and Participatory Filmmaking -- 7.1 Introduction -- 7.2 The Migrant Image as Constructed in Recent European Documentaries -- 7.3 Politics of (In)Visibility in Hungarian Documentary -- 7.4 Participatory Storytelling: Strategies of Engaging "Others" Through Film -- 7.5 Conclusion -- References -- Filmography -- Chapter 8: Story-Making and Photography: The Visual Essay and Migration -- 8.1 Introduction -- 8.2 The Visual Essay -- 8.3 Spatial Semiotics As a Method for Studying Urban Places -- 8.4 Observing Ethnic Brooklyn Change: The Case of Sunset Park -- 8.5 Observing East London -- 8.6 Conclusion -- References -- Chapter 9: Conclusions: Migrants Through Images ---

12.4.2 Collaboration Under Constraint -- 12.5 To Conclude. A Deficient Cooperation: Absence of Persons Who Have Experienced Migration -- References -- Chapter 13: Conclusions: Participating as Power? The Possibilities and Politics of Participation -- 13.1 The Intersecting Economies of Migrants’ Representation -- 13.2 Visuality and Domination -- 13.3 Visual Participation and Counter-Hegemony -- 13.4 Participation and the Re-placement of Violence -- 13.5 Collaborative Knowledge Distribution -- 13.6 Participation as Equality? -- 13.7 Conclusion: Theorising Participation -- References -- Part IV: Representation -- Chapter 14: Chant Down the Walls: Exploring the Potential of Video Methods in the Study of Immigrant Politics and Social Movements -- 14.1 Introduction -- 14.2 Video as a Tool to Study Migrants and Politics ---

4.3 Reducing the Distance? -- 4.4 …or Maintaining the Distance and Refusing to "Go Native"? -- 4.5 Editing and Montage: Knowledge Capital and Storytelling -- 4.6 Screening and Feedback: Shortcomings of Victory Day -- 4.7 Conclusion -- References -- Chapter 5: Conclusions: Touching and Being Touched - Experience and Ethical Relations -- 5.1 Production -- 5.2 Analysis -- 5.3 (Re)presentation -- 5.4 Ethics in Motion -- References -- Part II: Storytelling -- Chapter 6: Ethnocinematographic Theory. How to Develop Migration Theory Through Ethnographic Filmmaking -- 6.1 Introduction -- 6.2 Where Is the Theory in Ethnographic Film? -- 6.3 A Middle-Range Theory: Middling Migration -- 6.4 How We Developed Ideas Collaboratively -- 6.5 How We Developed an Argument Through Montage -- 6.6 Teaching Ethnocinematographic Theory -- 6.6.1 Step 1 - Treat Film and Text as Equal ---

11.2 "Who Is Behind Camera?": Reflecting Photography Along Borders -- 11.3 Photovoice Methodology -- 11.4 "I Took a Photo of the "Game" Because I Wanted to Show You My Life Here" -- 11.5 Conclusions: Re-Thinking Photography and Participation in Violence and Migration Research -- References -- Chapter 12: Crafting an Event, an Event on Craft. Working Together to Represent Migration Experiences -- 12.1 Introduction -- 12.2 Genesis, Craft of the Event and Dissemination -- 12.2.1 Genesis and Craft of the Event -- 12.2.2 Concrete Construction of the Event -- 12.2.3 Dissemination of the Call and Reception -- 12.3 Crossing Practices to Reinvent Migrations’ Representations -- 12.3.1 A Hybrid Programme -- 12.3.2 Migrations’ Representations: Co-creation, Stakes and Intentions -- 12.3.2.1 Nos Super Heros (2018) -- 12.3.2.2 Blue Sky from Pain (2016) ---

12.3.3 When Co-creations Become "Living Archives" -- 12.4 Disciplines and Practices’ Interculturality: How to Work With? -- 12.4.1 Becoming a Reflexive Community.

14.3 The Case Study: NDLON, the Jornaleros del Norte and Immigrant Activism in Los Angeles -- 14.4 The Process of Filming: Access, Role in the Field and Reactions -- 14.5 Using Video to Record Micro-interactions in the Field -- 14.6 Sequence Analysis -- 14.7 Reactivity and the Use of Video to Generate Different Insights and Data -- 14.8 Conclusion -- References -- Chapter 15: In the Eye of the Beholder? Minority Representation and the Politics of Culture -- 15.1 Introduction: On Representation(s) -- 15.2 Context and Case Studies -- 15.2.1 The Expatriate Archive Centre -- 15.2.2 The European Roma Institute for Arts and Culture -- 15.2.3 Bunkers -- 15.3 Representation "of": Which Stories, and How to Tell Them -- 15.4 Representation "by": Whose Voices Shape the Narrative -- 15.5 Representation "for": Culture and Knowledge for Whom? ---

15.6 The Political Responsibility of Arts and Culture -- References -- Chapter 16: The Researcher’s Nightworkshop: A Methodology of Bodily and Cyber-Ethnographic Representations in Migration Studies.

6.6.2 Step 2 - Recognize the Analytical Potential of the Editing Room -- 6.6.3 Step 3 - Stimulate Collective Genius -- 6.7 Conclusion -- References -- Chapter 7: Migrant Cine-Eye: Storytelling in Documentary and Participatory Filmmaking -- 7.1 Introduction -- 7.2 The Migrant Image as Constructed in Recent European Documentaries -- 7.3 Politics of (In)Visibility in Hungarian Documentary -- 7.4 Participatory Storytelling: Strategies of Engaging "Others" Through Film -- 7.5 Conclusion -- References -- Filmography -- Chapter 8: Story-Making and Photography: The Visual Essay and Migration -- 8.1 Introduction -- 8.2 The Visual Essay -- 8.3 Spatial Semiotics As a Method for Studying Urban Places -- 8.4 Observing Ethnic Brooklyn Change: The Case of Sunset Park -- 8.5 Observing East London -- 8.6 Conclusion -- References -- Chapter 9: Conclusions: Migrants Through Images ---

9.1 Produce Knowledge Through Filmmaking -- 9.2 From Text to Image and Back: Where Are We in the Work on Image?.

12.4.2 Collaboration Under Constraint -- 12.5 To Conclude. A Deficient Cooperation: Absence of Persons Who Have Experienced Migration -- References -- Chapter 13: Conclusions: Participating as Power? The Possibilities and Politics of Participation -- 13.1 The Intersecting Economies of Migrants’ Representation -- 13.2 Visuality and Domination -- 13.3 Visual Participation and Counter-Hegemony -- 13.4 Participation and the Re-placement of Violence -- 13.5 Collaborative Knowledge Distribution -- 13.6 Participation as Equality? -- 13.7 Conclusion: Theorising Participation -- References -- Part IV: Representation -- Chapter 14: Chant Down the Walls: Exploring the Potential of Video Methods in the Study of Immigrant Politics and Social Movements -- 14.1 Introduction -- 14.2 Video as a Tool to Study Migrants and Politics ---

16.1 Introduction -- 16.2 Invisible Migrants Travelling for Work -- 16.3 Methodology -- 16.3.1 Reflections on my Migratory Experience -- 16.3.2 Nightworkshop Methodology: Researching All Night -- 16.3.3 Bodily Notetaking: Gathering Sensorial Knowledge -- 16.4 Research-Based Short-Film in Migration Studies -- 16.5 Cyber-Ethnography: Tracking Space and Time to Learn about Bodily Knowledge -- 16.6 A Trilogy: Invisible, Nocturnal and Sleepless Lives of Migrant Night Workers -- 16.6.1 Invisible Lives: Romanian Night Workers in London (2013, UK) -- 16.6.2 Nocturnal Lives: Day Sleepers (2015, UK) -- 16.6.3 Nightshift Spitalfields: A Participatory Approach to Visual Storytelling -- 16.7 Discussion -- 16.8 Bring the real Lives into reel Stories -- 16.9 Conclusion -- References -- Chapter 17: Conclusions: "Ways of Representation": Is a Reflexive Representation Possible? -- 17.1 Common Analytical Categories: Visual Storytelling, Opportunities for Co-participation and Reflexivity -- 17.2 Lost and Found in Representations -- 17.3 Ethical Issues -- 17.4 Commentary -- References -- Chapter 18: Afterword: Visual Research in Migration. (In)Visibilities, Participation, Discourses -- 18.1 What Does Visual Research Methods Add to the Study of Migration? -- 18.2 The Right to Disappear -- 18.3 Transitions. Changes. Being on the Move. What Is That All About? -- References -- Correction to: Migrant Cine-Eye: Storytelling in Documentary and Participatory Filmmaking -- Correction to: Chapter 7 in: K. Nikielska-Sekula, A. Desille (eds.), Visual Methodology in Migration Studies, IMISCOE Research Series, https://doi.org/10.1007/978-3-030-67608-7_7.

4.3 Reducing the Distance? -- 4.4 …or Maintaining the Distance and Refusing to "Go Native"? -- 4.5 Editing and Montage: Knowledge Capital and Storytelling -- 4.6 Screening and Feedback: Shortcomings of Victory Day -- 4.7 Conclusion -- References -- Chapter 5: Conclusions: Touching and Being Touched - Experience and Ethical Relations -- 5.1 Production -- 5.2 Analysis -- 5.3 (Re)presentation -- 5.4 Ethics in Motion -- References -- Part II: Storytelling -- Chapter 6: Ethnocinematographic Theory. How to Develop Migration Theory Through Ethnographic Filmmaking -- 6.1 Introduction -- 6.2 Where Is the Theory in Ethnographic Film? -- 6.3 A Middle-Range Theory: Middling Migration -- 6.4 How We Developed Ideas Collaboratively -- 6.5 How We Developed an Argument Through Montage -- 6.6 Teaching Ethnocinematographic Theory -- 6.6.1 Step 1 - Treat Film and Text as Equal ---

9.3 Cooperation at the Heart of the Documentary Creative Process -- 9.4 From Photo-Voice to Cine-Voice? -- References -- Part III: Participation -- Chapter 10: Combining Participatory and Audiovisual Methods with Young Roma "Affected by Mobility" -- 10.1 Introduction -- 10.2 Audio-Visual Research as a "Making Together" -- 10.2.1 Reasons and Problems of Conducting Participatory Research -- 10.2.2 Representation, Authorship and Self-Analysis -- 10.3 Experimental Collaborations -- 10.3.1 From Commissioning Tasks to Research Training -- 10.3.2 Towards More Autonomous Forms of Participatory Data Collection -- 10.3.3 Professionalisation: Structuring and Rewarding Collaboration -- 10.4 Conclusive Remarks -- References -- Chapter 11: Photovoice as a Research Tool of the "Game" Along the "Balkan Route" -- 11.1 Introduction ---

001895883

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(Au-PeEL)EBL6689307

(MiAaPQ)EBC6689307

(OCoLC)1262726365