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The purpose of this paper is to discuss the contributions that critical realist ethnographies can make to an understanding of the multinational corporation.

This paper draws on a discussion of methodological challenges in researching the multinational corporation and the ways in which critical realist ethnographies can respond to these challenges. The example of research on the transfer of management practices is used to illustrate this.

Taking the example of researching the transfer of management practices within the multinational, the paper argues that the potential of critical realist ethnography including critical realist global ethnography to contribute to the field of International Business and International Management remains relatively untapped.

Adopting the sociological imagination of the critical realist ethnographer has implications for the kinds of questions that are asked by the researcher and the ways in which we seek to address these methodologically. Researching from a critical standpoint fruitful empirical themes for further research relate to the experience of change for example in business systems, internationalization of organizations and “globalization”.

The critical realist ethnographer can contribute insights into the complex social and political processes within the multinational and provide insights into how social structures are both impacting on and impacted by individuals and groups. Ethnographic research located within a critical realist framework has the potential to address questions of how stability and change take place within specific structural, cultural and power relations.

At the methodological level, this paper highlights the potential of critical realist ethnography in researching the multinational, in addressing significant questions facing the critical researcher and in gaining a privileged insight into the lived experience of globalization.

The purpose of this paper is to introduce the unique artistic approach of film-maker Werner Herzog as an inspiration to rethink ethnographic studies in general and the notion of reflexivity in particular.

This paper reviews the particularities of Werner Herzog’s approach to filmmaking, linking them to the methodological tradition of visual ethnography and especially the debate about the role of reflexivity and performativity in research.

Herzog’s conceptualization of meaning as “ecstatic truth” offers an avenue for visual organizational ethnographers to rethink reflexivity and performativity, reframe research findings and reorganize research activities. The combination of multiple media and the strong authorial involvement exhibited in Herzog’s work, can inspire and guide the development of “meaningful” organizational ethnographies.

The paper argues that practicing visual organizational ethnography “after Herzog” offers researchers an avenue to engage creatively with their research in novel and highly reflexive ways. It offers a different way to think through some of the challenges often associated with ethnographic research.

The purpose of this paper is to discuss the methodological aspects of analyzing and editing recorded qualitative interviews into polyphonic sound montages, which can then be played in a workshop and facilitate reflection, discussion and co-analysis.

The paper outlines the two elements of the method: editing and co-analysis. It uses empirical examples from a specific project where polyphonic sound montages were edited from interviews with patients at a cardiology department and played in a workshop for a multidisciplinary group of doctors, nurses, technicians, secretaries and managers.

It is argued that working with polyphonic sound montages is an engaging and fruitful way to present qualitative findings enabling the researcher to include more people in the analysis of the material.

The crafting of polyphonic sound montages and the process of co-analysis, as described in this paper, is a new approach to ethnographic representation and qualitative analysis. The paper may inspire researchers or consultants who want to experiment with a new way of involving user perspectives.

I would like to be able to report that the film Salmer fra kjokkenet (Kitchen Stories) (dir. Bente Hamer, 2003) was a direct consequence of the powerful arguments I made for the use of ethnography in housing studies almost 20 years ago (Franklin, 1990). Sadly, I cannot! In this touching comedy drama from Norway, a team of Swedish ethnographers working from the Swedish Home Research Institute descend on a remote rural locality in Norway during the 1950s in order to study the kitchen habits and cultures of single living men. It is an improbable quest, until one learns that the same team discovered how Swedish housewives needlessly walk the equivalent distance between Stockholm and the Congo every year as they go about their routine kitchen business; a finding that successfully paved the way for more efficient kitchen design and culture. So it was that the team descended on the very perplexed and uncooperative Norwegian bachelors (the last sub-group in their programme) in order to map out their domestic inefficiencies. Comic tension is built both through their ethnographic props (the researchers were to sit on giant stools in the kitchens, giving them panoptic vision), rules (they were not to talk to respondents, although that proves awkward when lights are turned out by thrifty Norwegians) and living spaces (they were to live in specially designed, round caravans parked outside their respondent's homes). The film would have been a vindication of my arguments not so much because it demonstrates the truth that practical housing outcomes can arise from spending sufficient periods of time studying cultural milleux, but because it also demonstrates that the relationship between researchers and respondents become more productive over time, resulting in more reliable data, better understandings of that millieux and what their problems (and therefore often ‘ours’) actually consist of.

This chapter suggests that moving beyond positivism entails a recognition that the social world is made up of complex phenomena that are heterogeneous, and events are caused by contingent conjunctures of causal mechanisms. To theorize the social world as heterogeneous is to recognize that social causes, categories, and groups combine different kinds of phenomena and processes at various levels and scales across time. To speak of conjunctural causation implies not only that events are caused by concatenations of multiple, intersecting forces but also that these combinations are historically unique and nonrepeatable. Both the historical materialist conception of the “conjuncture” and the poststructuralist theory of “assemblages” take heterogeneity and multicausality seriously. I compare and contrast these formulations across three dimensions: the structure of the apparatus, causation, and temporality. I argue that these theories offer useful tools to social scientists seeking to engage in complex, multicausal explanations. I end the article with an example of how to use these concepts in analyzing a complex historical case.

The purpose of this paper is to critically understand a programme theory of the “transfer” of work in one social organisation and sector (an innovative and successful social enterprise community café, The Usual Place that seeks to enhance the employability of young people with additional support needs in “hospitality”) to another (Dumfries Theatre Royal, a regional theatre and registered charity, specifically the “Dumfries Arts Award Project” and more generally, “the arts”).

By means of gaining insight into the complexity of the transfer of innovative practices between two socially oriented organisations and theoretical insights into associated conducive contexts and optimal processes, the work used realist evaluation resources within a longitudinal ethnographic approach. Within this, a series of specific methods were deployed, including semi structured key stakeholder interviews, non-participant observation and “walking” and “paired” interviews with service users in each organisation.

The principle finding is that with attention being paid to the context and intervention processes associated with transfer processes and having sufficient capacity and strong partnership working, it is possible to take an innovative idea from one context, transfer it to another setting and have relatively immediate “success” in terms of achieving a degree of sustainability. The authors propose a provisional programme theory that illuminates this transfer. They were also able to show that, whilst working with the potentially conservative concept of “employability”; both organisations were able to maintain a progressive ethos associated with social innovation.

The work offers theoretical and methodological originality. The significance of “scaling up” social innovation is recognised as under-researched and under-theorised and the use of a realistic evaluation approach and the associated development of provisional programme theory address this.

Purpose – This chapter explores a traditional mode of ethnography referred to as ‘realist ethnography’ as it relates to sport and physical culture (SPC) research.

Design/methodology/approach – The chapter discusses different approaches to ethnography, but principally addresses a realist ethnography I conducted on Ashtanga yoga in Canada.

Findings – I discuss how data evolved from the realist ethnographic method, and outline the manner in which ethnographic research is as a ‘way of life’. The chapter concludes that the realist ethnographic method is not untenable, as some authors suggest, but rather a viable and exciting mode of knowledge production in the SPC field.

Originality/value – The chapter is original work. It makes a case for the retention of realist ethnographies in our methodological lexicon, and illustrates the empirical process of writing culture. It also endeavours to engage students and scholars alike regarding the value of ethnographic methods more broadly.