Sadly, this piece of graffiti is too inappropriate for my project. So here it is in a special slot!
Monday 26 March 2012
Friday 23 March 2012
Task 5a (for April 27th)
This chapter aims to distinguish between the 3 different photographic genres: Visual Sociology – the use of images to establish or support sociological theory; Documentary Photography – which “was tied, historically, to both exploration and social reform” (Becker 1998: 76); and Photojournalism – the production of images for forms of journalism, such as magazines and newspapers. The idea of ‘context’ is also discussed and analysed.
Context provides an image with a meaning (Becker 1998: 77), grouping the image within a specific genre or subject area, either describing the image in detail for the reader or leaving it to the reader’s interpretations, with photography being described as "a technology of visualization that both draws on and establishes a visual economy through which events and issues are materialized in particular ways" (Campbell 2009). Becker further discusses context by analysing the versatility of photographs in one context if that photograph were to be applied to another in the sub-chapters, Reading a documentary picture as visual sociology or photojournalism, Reading a sociological picture as journalism and as documentary and Reading a journalistic picture as visual sociology and as documentary.
Becker discusses how these initial images would differ in the perspective of the different genres, but also, in applying an image to other contexts, different methods should be applied. Journalistic images require simplicity for their readers (Becker 1998: 75-76), a title which states the content of the image in addition to the image, itself, being clear for the reader, not only to aid the reader but to also validate the point of the image (Becker 1998: 80). An image from the other genres can be transmitted to this context if these methods are applied. Illustrations of the topic for which the image is being used, such as homelessness (Becker 1998: 82), would find meaning in media stereotypes, unlike visual sociological contexts which have clearer meanings because of the amount of time and research conducted in comparison with an image being used for a headline.
A sociological image, usually with a description or small descriptive passage (‘explicit’ context), will provide its reader with information concerning the setting of the image, who is in it, what is happening and what the overall image aims to show – documentary images without such detailed passages (more ‘implicit’) would be used in this way. Journalistic images, such as the image of Richard Nixon leaving the White House following the Watergate scandal (Becker 1998: 83), could perhaps pose questions into media fascination of Nixon – amongst other potential sociological subject areas.
Documentary images are taken as part of a larger project, analysing a particular subject area through a number of different images. The documentary image example, showing the backs of 2 smartly-dressed men, is not a clear in what it is trying to show. Within this context, the imagery in this picture could be used to convey a message or statement - this particular one as a political statement (Becker 1998: 79-80). This context could be used against an image of either of the others. Journalistic images of various points in history are frequently turned into documentaries, re-telling the story of that event and analysing it further. Documentaries into the assassination of JFK and the Friedmans child abuse case are among many to have been converted into documentaries – the ‘Capturing the Friedmans’ documentary (Jarecki 2003) made use of home video footage and family photographs.
Becker’s chapter Visual Sociology, Documentary Photography, and Photojournalism: It’s (Almost) All a Matter of Context is effective in establishing not just the differences between the Visual Sociology, Documentary Photography and Photojournalism genres, but in also establishing the theory of context and how each genre has their own specific context. Furthermore, Becker determines that different contexts can be applied to images from each genre, offering a different perspective and allowing for further, more detailed, information to be demonstrated.
References:
Context provides an image with a meaning (Becker 1998: 77), grouping the image within a specific genre or subject area, either describing the image in detail for the reader or leaving it to the reader’s interpretations, with photography being described as "a technology of visualization that both draws on and establishes a visual economy through which events and issues are materialized in particular ways" (Campbell 2009). Becker further discusses context by analysing the versatility of photographs in one context if that photograph were to be applied to another in the sub-chapters, Reading a documentary picture as visual sociology or photojournalism, Reading a sociological picture as journalism and as documentary and Reading a journalistic picture as visual sociology and as documentary.
Becker discusses how these initial images would differ in the perspective of the different genres, but also, in applying an image to other contexts, different methods should be applied. Journalistic images require simplicity for their readers (Becker 1998: 75-76), a title which states the content of the image in addition to the image, itself, being clear for the reader, not only to aid the reader but to also validate the point of the image (Becker 1998: 80). An image from the other genres can be transmitted to this context if these methods are applied. Illustrations of the topic for which the image is being used, such as homelessness (Becker 1998: 82), would find meaning in media stereotypes, unlike visual sociological contexts which have clearer meanings because of the amount of time and research conducted in comparison with an image being used for a headline.
A sociological image, usually with a description or small descriptive passage (‘explicit’ context), will provide its reader with information concerning the setting of the image, who is in it, what is happening and what the overall image aims to show – documentary images without such detailed passages (more ‘implicit’) would be used in this way. Journalistic images, such as the image of Richard Nixon leaving the White House following the Watergate scandal (Becker 1998: 83), could perhaps pose questions into media fascination of Nixon – amongst other potential sociological subject areas.
Documentary images are taken as part of a larger project, analysing a particular subject area through a number of different images. The documentary image example, showing the backs of 2 smartly-dressed men, is not a clear in what it is trying to show. Within this context, the imagery in this picture could be used to convey a message or statement - this particular one as a political statement (Becker 1998: 79-80). This context could be used against an image of either of the others. Journalistic images of various points in history are frequently turned into documentaries, re-telling the story of that event and analysing it further. Documentaries into the assassination of JFK and the Friedmans child abuse case are among many to have been converted into documentaries – the ‘Capturing the Friedmans’ documentary (Jarecki 2003) made use of home video footage and family photographs.
Becker’s chapter Visual Sociology, Documentary Photography, and Photojournalism: It’s (Almost) All a Matter of Context is effective in establishing not just the differences between the Visual Sociology, Documentary Photography and Photojournalism genres, but in also establishing the theory of context and how each genre has their own specific context. Furthermore, Becker determines that different contexts can be applied to images from each genre, offering a different perspective and allowing for further, more detailed, information to be demonstrated.
References:
Becker, H. S.
(1998) 'Visual Sociology, Documentary Photography, and Photojournalism: It’s
(Almost) All a Matter of Context'. In Image-based Research: A Sourcebook for
Qualitative Researchers. ed. by Prosser, J. London: Routledge Falmer, 74-85
Campbell, D.
(2009) '“Black Skin and Blood”: Documentary Photography and Santu Mofokeng’s
Critique of the Visualization of Apartheid South Africa'. History and Theory
48(4), 52-58
Jarecki, A.
(2003) Capturing the Friedmans. [DVD] USA: HBO Documentary Films
Thursday 15 March 2012
Research Plan: Sociological Reasoning and Usage of Graffiti
1.
Brief:
The
focus of this project will be on the use of graffiti and its functions in
society. Graffiti can be categorised into different types, for example,
organised graffiti art, such as murals painted upon public walls; graffiti
“tags” – examples of this can include political slogans, sport-related
graffiti, or acronyms associated with youth gangs, perhaps used to display gang
territories or as a type of recognition system so gang members can identify
each other; and graffiti of a delinquent nature, namely, vandalism in public
places and sites. These include park benches, bus shelters and public monuments/statuettes.
My
aim in this project is to discuss graffiti and the different sociological
reasons and uses of graffiti. Ideas such as expressionism, using graffiti as a
means of conveying a political or sociological message, or as a form of social
identification within their local community and wider society, shall all be
examined. Potential reasons for the use of graffiti in this manner shall also
be discussed.
2.
Methodological
Considerations:
Various
articles and books looking at the use of graffiti, as well as articles focusing
upon aspects of youth crime, shall be utilised as methods of analysing the use
of graffiti in society. The pictures which shall be taken will be examined
against various sociological and criminological theories. The results of my
findings will be posted on my blog.
3.
Equipment
Needs:
The
equipment which will primarily be needed is a digital camera to take pictures
of the various forms of graffiti.
4.
Sample
Considerations:
A
sampling of the various types of graffiti will be selected from different areas
in the town of Glenrothes, Fife. A stratified sampling technique shall be utilised, in particular, looking at the different graffiti types across numerous geographical areas in Glenrothes, including housing areas across town such as Macedonia, South Parks, Rimbleton and Pitteuchar. Central - more public areas - shall also be examined, such as Riverside Park and the area surrounding the Kingdom Centre. This sampling technique shall aim to understand the various uses of graffiti
and the relevance of the setting of the graffiti.
5.
Ethics
Issues to be considered:
No
major ethical issues will need to be considered in conducting this project. It is, however, important to ensure that a selection of graffiti photographs are taken over a wide area to provide a useful spread of data to fulfill this project's objective.
6.
Restraints
& Issues Expected:
No
major restraints or issues are to be expected in conducting this project.
Sunday 11 March 2012
Task 5b (for April 6th)
i. Image-based research incorporates a number of different visual forms, such as photographs, maps, film, pieces of art and many more (Prosser 1998). All of these various forms of image-based research are available in both a physical copy, as well as in an electronic format. The benefits of images in research have been stated by Razvi (2010) as a way to “signify multiple representations of a culture and enrich understanding of the phenomena under investigation”. When using images as a basis for research, however, it is important to apply consideration towards the ethics of using an image.
In regards to image-based research, it is no longer the case that images being used for such purposes as research are completely valid and reliable. Just like in written research, bias can play a key role in the use of an image for research purposes. The researcher should exhibit objectivity, though this is not always the case. When taking a photograph, for example, the researcher has influence in interpreting and controlling this data to suit their own means which is a potential issue (Simco & Warin 1997: 662). Additionally, with the use of computer programmes, such as Photoshop, it is easy to alter visual research (Jones 2012) - even a considerable amount of time after their initial collection.
Despite these potential complications, maintaining an objective stance towards the research through unbiased data-gathering and applying qualitative measures which ensure the validity of “real world” study (Pyett 2003).
References:
Jones, M. (2012) Media-Bodies and Photoshop [online]. Available from <http://uts.academia.edu/MeredithJones/Papers/761345/Media-Bodies_and_Photoshop> [11 March 2012]
Prosser, J. (1998) (ed.) Image-based Research: A sourcebook for qualitative researchers. London: Routledgefalmer
Pyett, P. M. (2003) ‘Validation of qualitative research in the “real world”’. Qualitative Health Research 13(8), 1170-1179
Razvi, M. (2010) Image-Based Research: Ethics of Photographic Evidence in Qualitative Research [online]. Available from <http://www.umsl.edu/continuinged/education/mwr2p06/pdfs/D/Razvi_Image-Based_Research.pdf> [10 March 2012]
Simco, N., Warin, J. (1997) ‘Validity in Image-Based Research: An Elaborated Illustration of the Issues’. British Educational Research Journal 23(5), 661-672
ii. Globally, the media has become a massive economic force, providing information to the public which they can access even easier. Taking most forms of media into account - particularly newspapers, television and the internet – the use of journalistic images is very important. As visual sociology, however, how useful is the journalistic image?
Similarly to image-based research, the validity and reliability of a journalistic image as visual sociology is a factor in its overall usefulness. While the image(s) does exhibit what occurred at that specific point in time, it can be manipulated to not represent actual happenings, not just by the individual taking the picture but also by the editors of media outlets who, in the case of those working for Rupert Murdoch, are self-censored by Murdoch’s decisions regarding what content is reported (Evans 1994).
It is not just the manipulation of the image which is problematic. The filtering of journalistic images by the receiver in a selective manner, according to their beliefs or point of view, formulates an ‘interpretive model’ (Halloran 1970). Though this is not such a problem looking back historically, it can affect an individual’s appraisal of media messages at that present time (Arck & Primack 2009: 54). This model may, again, affect the conduct of the individual taking the journalistic image. Recent examples of both manipulation and the ‘interpretive model’ can include the “anti-cuts” student protests - Guardian (2010b) visually shows the students protesting in a favourable image to coincide with the article 'Why I support the student protests'; while Guardian (2010a) exhibits the violent aspects of the demonstrations.
 |
| 10/11/10 http://www.guardian.co.uk/education/2010/nov/10/student-protest-fees-violent (Guardian 2010a) |
 |
| 22/11/10 http://www.guardian.co.uk/commentisfree/2010/nov/22/student-protests-lily-cole (Guardian 2010b) |
Here are 2 images from different reporters at The Guardian. These images convey different interpretations of the activities at these demonstrations in London 2010
Journalistic images are a very important source of information in helping to display possible ideals and events. Taking into account potential bias and the application of an ‘interpretive model’, however, it is difficult to utilise a journalistic image as visual sociology objectively and without any hindrance.
References:
Arck, E. T., Primack, B. A. (2009) ‘Quantifying media literacy: development, reliability, and validity of a new measure’. Educational Media International 46(1), 53-65
Evans, H. (1994) Good Times, Bad Times. Great Britain: Phoenix
Guardian (2010a) Student protest over fees turns violent [online]. Available from <http://www.guardian.co.uk/education/2010/nov/10/student-protest-fees-violent> [11 March 2012]
---. (2010b) Why I support the student protests [online]. Available from <http://www.guardian.co.uk/commentisfree/2010/nov/22/student-protests-lily-cole> [11 March 2012]
Halloran, J. (1970) The effects of television. St. Albans: Panther
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