Visual Methodology in Migration Studies : : New Possibilities, Theoretical Implications, and Ethical Questions.

• Superior document: IMISCOE Research Series
• Author: Nikielska-Sekula, Karolina.
• TeilnehmendeR: Desille, Amandine.
• Place / Publishing House: Cham : : Springer International Publishing AG,, 2021.; ©2021.
• Year of Publication: 2021
• Edition: 1st ed.
• Language: English
• Series: IMISCOE Research Series
• Physical Description: 1 online resource (355 pages)

Table of Contents

• 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
• 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.
• 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
• 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?.
• 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
• 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 Héros (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.
• 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
• 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.
• 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.