Exploring the ‘craftedness’ of multimedia narratives: from creation to interpretation

Rose, Chloë Brushwood; Low, Bronwen

doi:10.1080/1472586x.2014.862990

Cited by 16 publications

(7 citation statements)

References 11 publications

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“…The materiality of an image has profound consequences for how it is interpreted (Gubrium & Harper, 2013;Mitchell, 2011). Yet the crafted nature of visuals is rarely explored in detail in visual methods literature (Brushwood Rose & Low, 2014). Furthermore, while community exhibits in photovoice are common, rarely do scholars describe whether or how participants are involved in exhibit development (Evans-Agnew & Rosemberg, 2016).…”

Section: Resultsmentioning

confidence: 99%

Working With Photo Installation and Metaphor: Re-Visioning Photovoice Research

Switzer

2019

International Journal of Qualitative Methods

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The proliferation of participatory visual methods (PVMs) in applied research has highlighted new ways of seeing and thinking about research. A core tenant of PVMs is the situated, collaborative, reflexive, and co-constructed nature of the work and resulting findings. However, as these methods gain popularity, there can be a disparity between how PVMs are theorized, imagined, and facilitated. Although the facilitated and reflexive nature of PVMs is generally understood by practitioners, researchers seldom report on pedagogical design of their projects, even though the facilitation of a method, and a researcher’s own lens and orientation to photography will influence the production and reading of images. To achieve greater congruence between paradigm and practice, it may be important to return to fundamental questions about the role of facilitation and the process of crafting and exhibiting images in photovoice in relation to one’s study aims. In this article, I explore the crafted role of image-making in the context of a photovoice project that asked stakeholders to visualize engagement in the local HIV sector. Participants created and exhibited 63 photographs and narratives that relied heavily on metaphor as a crafted strategy. They also created three site-specific photo installations. Through detailing our facilitated process, I illustrate how certain design elements (influenced by my pedagogical and theoretical orientations toward co-theorizing) created the necessary conditions for participants to visualize their ideas through metaphor and installation. In turn, the exhibited images and associated installations created new opportunities for synthesis, dialogue, and dissemination. I conclude with a theoretical discussion of the possibilities for taking a crafted and reflexive approach to image-making in photovoice studies.

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Section: Resultsmentioning

confidence: 99%

Working With Photo Installation and Metaphor: Re-Visioning Photovoice Research

Switzer

2019

International Journal of Qualitative Methods

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“…Visual methods are also linked to other creative and aesthetic forms of self-expression, holding emancipatory power that helps the narrator find her voice and identity (Bragg, 2011;Brushwood Rose & Low, 2014). Lorenz (2010) defines visual artifacts as metaphors that bring alive emotions and personal experiences and help children share and reflect upon their sense-making.…”

Section: Visual Participatory Research Methodologymentioning

confidence: 99%

The SAGE Handbook of Developmental Psychology and Early Childhood Education

Whitebread¹,

Grau²,

Kumpulainen³

et al. 2019

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“…Other writers have also extended the terrain initially explored by Lambert to include the use of Digital Storytelling as vernacular creativity (Burgess, 2006), as a method for qualitative research into particular policy issues (Gubrium, 2009), as a form of personal creativity, a means to preserve a community's identity, as a form of oral history (Klaebe, Foth, Burgess & Bilandzic, 2007, p.33). Brushwood and Low (2014) consider DS a program aimed at "empowering participants through processes of representation, affirming their capacity to communicate their experiences to others and asserting the socio-political significance of doing so". The ways digital stories are re-defined and re-used goes beyond the initial meaning -of merely giving a voice to the voiceless, by allowing them to tell their view of life events in a format including technology.…”

Section: Digital Storytelling -Use and Practicementioning

confidence: 99%