The videographic approach in marketing research: Which methodological protocol?

Abstract

This article proposes a protocol for the videographic method in marketing research. Its aim is to develop the toolbox available to researchers by outlining how academic videography can be used and by identifying the challenges and opportunities inherent in such an approach. Providing researchers with a concrete guide in this way is also a response to the calls for more widespread use of this method in the academic community. The article presents both the application and an evaluation of the videographic method through four successive phases: pre-production, production, post-production and dissemination. This protocol is based on an analysis of the origins of videographic research – primarily North American. This is complemented by an analysis of the corpus of French-language productions presented at national and international conferences, with the aim of providing a broad and non-ethnocentric vision so as to specify the methodological process and the various choices involved, thereby contributing to the development of creative and innovative studies.

In Mondovino Veritas? Politics of the Documentary Film for Critical Management Research

“…We will not deal here with the history of documentary cinema. For this, the interested reader can consult specialized works (Bruzzi, 2006;Gauthier, 2015;Nichols, 1991Nichols, , 2010Niney, 2002), and some management overviews (Cléret et al, 2018;Hassard, 1998Hassard, , 2009Hassard et al, 2018;.…”

“…Even so, the documentary film format is increasingly often considered as a method for the production of data in its own right, in a sociological and anthropological tradition of filmed research (Colleyn, 1993(Colleyn, , 2009Pink, 2013), or more firmly anchored in contemporary art-based research methods (Barone & Eisner, 2012;Debenedetti et al, 2019;Mairesse, 2019). Some of these studies focus on the major steps in the production of filmed research, underlining the benefits and limits of video in terms of production, post-production, and dissemination of data (Belk & Kozinets, 2005;Cléret et al, 2018;Goodman, 2004;Petr et al, 2015; cf. also the interview with J. Bakan in Bell, 2015).…”

“…The documentary is thus, first of all, envisioned as a tool for sampling information 'on' reality, and the accent is placed on the method that allows the truest rendition of the images of which the filmmaker was an eyewitness, while making the message as 'effective' as possible for the audience. From this realistic and representational viewpoint, the research film is also often considered as an illustration or proof in images of concepts developed upstream (Cléret et al, 2018;Petr et al, 2015; see also the experience of Joel Bakan, writer of The Corporation in Bell, 2015).…”

“…Whenever the conditions of production of the documentary film are addressed, they are seen merely as means to an end (the cinematographic narrative) and vanish in the 'finished product'. This is obviously so in representational films, where 5 Politics of the documentary film the filming is first conceived as an early neutral phase of 'data collection' (Cléret et al, 2018;Petr et al, 2015). However, it is also largely the case for work in the expressive vein for which the political weight of the film seems to be carried entirely by the performative, sensible, and destabilizing power of the visual and aural.…”

“…Several overviews on the use of the documentary film in different areas of management research have already been published (Cléret et al, 2018;Hassard, 1998Hassard, , 2009Hassard et al, 2018;: this article has a more specific purpose, which is to assess to what extent the documentary film can support a critical research project, that is, to address the question of its political dimension. How can the management researcher make use of this object to critically examine organizations or markets?…”