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This paper explores image-making efforts in the city of Doha. A multi-layered critical discussion is employed and articulated in a number of procedures that include conceptualizing theoretical underpinnings for understanding image making in terms of contextual and critical approaches, identifying the types of efforts that took place and that are currently taking place towards image making, mapping the contextual and critical approaches on actual examples from the city, and examining the printed media by conducting a content analysis study of two widely acknowledged magazines in an attempt to answer the question of how the country wants to portray its capital city through image-making to the global community. The results of this exploration convey a commitment toward image making, presenting an image of Doha as an emerging international hub. The paper concludes by arguing for the need of critical consciousness in response to that fact that image making practices in Doha continue to subdue the profession to client aspirations through oversimplified imaging while ignoring the professional discourse that scrutinizes the quality of those images and the meanings they convey.

This chapter introduces the approaches and methods employed in a four-country research project that resulted in the 2017 report The People in the Pictures: Vital perspectives on Save the Children’s image making. It presents and explores the ethical issues that emerged throughout the process of the research, particularly in relation to photo elicitation – the use of images (still and moving) within both interviews and focus groups. Interviews and focus groups took place in the UK, Jordan, Bangladesh, and Niger with a total of 202 research participants. The research involved sharing Save the Children content (fundraising materials, published reports, online news features, TV adverts, and short films) with research participants. Research participants included those featured in some of these visual communication materials (referred to as contributors), and other individuals within their communities (referred to as non-contributors). The following principles and decisions informed the research design: safe and ethical practice; inclusive, engaging and accessible approaches; the participation of children; prioritising first-hand accounts; no photography or filming; and the preparation of location- and language-specific resources for each interview and focus group. The main ethical issues to emerge during the design of the research related to predicting (and responding) to any potential negative impacts of the research on participants, particularly contributors, but also children. The researchers also experienced some unexpected ethical encounters, including visual materials causing some concern or distress. Additionally, assuring research participants’ anonymity led to the necessity of extra care when publishing the report and the use of images within that.

This chapter examines the role of corporate image-making in the everyday life of organizations and its contribution to the mundane reproduction of discrimination. With British Airways as an example, it is argued that images found in corporate materials reflect the organization’s construction of “male” and “female,” “white” and “non-white,” in distinct ways. Further, these images have profound consequences for the ways in which employees visualize themselves, their colleagues and their subordinates. This chapter also shows how organizational images can restrict diversity by identifying certain organizational roles and positions with specific demographic characteristics. It is suggested that (a) these various images have sanctioned and encouraged certain types of “male”/female,” “white”/“nonwhite” behavior, and implicitly prohibited others and (b) these images can be linked to the exclusion of women and people of color from positions of power, authority, and prestige within the airline industry.

The main objective of this paper is to discuss how photography might help give research participants a louder voice in (qualitative) critical accounting and management research, enabling their multiple voices to be better represented/performed through the technique of “native image making”. A secondary aim is to familiarise the reader with key developments and debates in the field of “visual research” more generally.

A brief overview of the field is offered, and, drawing on examples from the author's visual research practice, how the concept of “photo‐voice” might increase participants' involvement in research in two ways is discussed.

First, it is argued that accessibility of the method, control of the research agenda and ownership of the images give a louder voice in the process of research. Second, and following Barthes, it is contended that through their iconic and quasi‐representational nature, photographic images can communicate participants' views of their worlds with more primacy than language alone, raising their voices in the dissemination of research.

The paper has especial implications for researchers engaged in critical studies of accounting and management seeking to give voice to marginal groups of people traditionally disregarded by mainstream organization/management studies.

The paper contributes to the development of a novel qualitative methodology for accounting and management research.

Entrepreneurial identity is a complex concept. It has been recognised as a subjective and dynamic socio-cognitive factor which is not stable over time and is part of an iterative formation process. This chapter explores the journey of adopting, implementing and reviewing visual methods, in order to examine entrepreneurial identity, from the researchers’ perspectives. A critical standpoint is offered which explores both the benefits and challenges that presented themselves in the search for rich data.

This chapter presents an assessment of the participatory process during the PUI upgrading initiative, drawing on extensive interview data with residents, experts and municipal staff. It highlights the potentials and limitations of participatory processes in upgrading informal settlements. Structured into three parts, focusing on the process, the products and the effects of the PUI, it discusses topics such as social and material sustainability, self-esteem, place attachment and use of space, formal and informal economic development, political image-making and more.

Fashion advertising as a contemporary ideological form has the power to deliver semiotic messages, which frames individuals' perception. Promoting perfection in consumer culture has resulted in the creation of unrealistic self-image and negative effects that led to psychological illnesses and pathological behaviours. The purpose of this paper is to investigate the ideology behind the contemporary fashion advertising that embraces imperfection and is linked to consumer subjective well-being.

Nine fashion ads were selected based on the WGSN consumer report Embracing Imperfection. A sample of images was analysed applying semiotic analysis combined with the criteria of content analysis.

The results supported the notion that some contemporary fashion communication brands are challenging the conventional idea of perfection. Five themes were identified as the characteristics that bridged the visual surface of advertising with its hidden ideologies of imperfection. By supporting “anonymity”, fashion brand communication is against excessive self-focus and helps reducing anxiety due to being imperfect. By promoting “rawness”, it encourages authenticity and uniqueness. “Banality” rejects materialism and promotes the beauty of the boring day. “Ugliness” advocates for removal of the single standards and celebrate individual differences, and “spontaneity” is interchangeable for humanity, freedom, openness and acceptance of self.

This study is among the few attempts to conduct semiotic analysis of fashion advertising images aiming to identify the visual components and ideologies that could potentially be linked to subjective well-being in fashion communication.

This paper discusses the idea of projecting corporate image in terms of culturally regulated codes of appeals by using, mainly, the examples of ad campaigns by some US business companies in the post‐9/11 environment. The image of patriotism those companies are aspiring to suggests corporate imagery can be a shared social phenomenon, i.e. collective ethos, thus raising questions about the traditional approach to corporate imagery, which is summarized as “self‐representation.” The way to build up collective ethos is through Burke’s “identification,” seen as both a strategy and goal of communication. The paper also provides an overview of rhetorical theory on using image as a presentation strategy to explore the reason why it has been treated in history as a way for self‐projection, or representation of a “corporate self.”

The purpose of this paper is to summarize some of the key findings and approaches used in documenting the authors’ longitudinal studies of mathematical learning and understanding. In particular, it focuses on “folding back,” a theoretical construct originally developed by Susan Pirie and Tom Kieren, to show how, over the last two decades, the authors have taken up, built-upon, and elaborated this construct in relation to Pirie and Kieren’s wider theorizing and in relation to classroom practice.

The paper documents the various methodologies and methods the authors have used to elaborate theory and contribute to extending teaching practice in a number of related research studies.

This paper describes the role of folding back in the growth of students’ mathematical understanding, initially at the level of the individual, more recently at that of the collective – and currently with a specific consideration of the role of the teacher. It notes that the longitudinal nature of the work has allowed it to respond to shifting perspectives in the field of mathematics education and to become a more nuanced and powerful analytic and teaching tool.

The paper discusses the significance of a longitudinal, shared program of research, deeply rooted in mathematics classrooms, that builds theory systematically and over an extended period of time.

The purpose of this article is to provide an interview with Loren C. Steffy, business columnist for the Houston Chronicle. Loren has been recognized by the Society of American Business Editors and Writers, and the Associated Press Managing Editors, and has recently published Drowning in Oil: BP and the Reckless Pursuit of Profit.

This briefing is prepared by an independent interviewer.

Loren's recent publication: Drowning in Oil: BP and the Reckless Pursuit of Profit, provides an in‐depth examination of how a lack of corporate responsibility and government oversight led to the biggest offshore oil spill in US history, explaining that that the Deepwater Horizon disaster was only part of a larger pattern of cost‐cutting, image‐making, and winner‐take‐all corporate culture that compromised safety across BP's operations for years.

The paper provides strategic insights and practical thinking that have influenced some of the world's leading organizations.

The paper provides strategic insights and practical thinking that can have a broader social impact.

There is a lesson for all companies in the case of the Deepwater Horizon disaster: vigilance matters. When companies have complex and potentially dangerous operations, they cannot afford to get complacent. Years of safe operations does not mean you are not moments away from disaster. Human error is always a factor, but companies need processes that account for it.