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In 1984 the number of photographs taken by people in the U.K. broke the 1 million mark and 75% of all households had a camera. By the end of the millennium (1999) people…
In 1984 the number of photographs taken by people in the U.K. broke the 1 million mark and 75% of all households had a camera. By the end of the millennium (1999) people in Britain spent over 1 billion on cameras, film and processing and the number of photographs taken had exceeded 3 billion.1 There is little doubt that most people are familiar with cameras, and the majority will be engaged in forms of photographic practice as amateurs, that is as a “pastime” or hobby or as an adjunct to events, activities and leisure in their everyday lives.
Evergon’s Manscapes, accompanied by titles that do not provide exact locations of the places he photographs, accord respect to these spaces and in doing so preserve their…
Evergon’s Manscapes, accompanied by titles that do not provide exact locations of the places he photographs, accord respect to these spaces and in doing so preserve their status as commonplace images. In documenting those locales where gay desire is enacted on a daily basis, the Manscapes speak to the theme of “the everyday.” These everyday photographs provide testimony, not, obviously, in the formal and legal sense of the term, but rather in fidelity to the archaic meaning of the word as indicating: “a solemn protest or declaration.”6 To gaze at these images is to be drawn into spaces of gay resistance, to vicariously inhabit beat and cruising ground space, to behold signs of resistance. For the Manscapes are profoundly allegorical. Upon viewing these images for the first time they appear unremarkable, almost mundane in their depiction of common scenes (parks, foreshores, secluded hinterlands and other public spaces). As the clues in the photographs are identified, the viewer imbues the photographs with an aura of desire.7 In their totality, the Manscapes testify to the existence of those everyday places that are subject to processions of desiring male bodies.
This chapter explores notions of authenticity in terms of the photographs taken by tourists while on holiday. Some tourists photograph attributes of the host’s culture…
This chapter explores notions of authenticity in terms of the photographs taken by tourists while on holiday. Some tourists photograph attributes of the host’s culture that they perceive as “authentic”, while ignoring, editing, or erasing aspects that conflict with their “imagined” views. Drawing upon methods of participant-informed photo-ethnography used in a study of US tourists’ holiday photographs of Ireland, tourists will be resituated in this chapter as “editors” in their own photographic reproductions of place. Moreover, by focusing attention to how they confer meaning on destinations and the people who live in them, through the embodied performance of photography, this chapter explores tourists’ notions of authenticity.
There are several contenders for the title of being the “pioneer of photography,” of which in France, Louis Jacques Mande Daguerre (1787–1851) is the most internationally…
There are several contenders for the title of being the “pioneer of photography,” of which in France, Louis Jacques Mande Daguerre (1787–1851) is the most internationally famous. In Britain, it is widely accepted that although William Henry Fox Talbot (1800–1877) was not the first to produce photographs, he had a major contribution to the development of photography.
This paper aims to propose a theoretically informed and analytically rigorous research framework that sustainability researchers could use or further develop to examine…
This paper aims to propose a theoretically informed and analytically rigorous research framework that sustainability researchers could use or further develop to examine visually persuasive messages in photographs.
Drawing on the theoretical constructs of Peirce’s (1991) visual semiotic system of icon, index and symbol and Aristotle’s (1984) persuasive appeals of ethos, pathos and logos, the authors propose a research methodology that provides an explicit step-by-step guidance to examine visually persuasive messages in sustainability-related photographs. The sustainability-related photographs in The Coca-Cola Company’s 2018 Business and Sustainability Report are examined to illustrate the application of the framework.
This paper develops a research framework and provides empirical evidence of the use of the framework to enhance the understanding of visually persuasive messages depicted in photographs.
The proposed framework serves as a springboard for further research into visually persuasive messages.
The research framework of visual persuasion is novel and can be used by sustainability researchers to analyse photographs in corporate reports. It can be extended/modified to capture visual representations in different contexts and other disciplines as well.
Purpose – The purpose of this chapter is to review and categorize how photographs have been used in management research and to provide strategic management researchers…
Purpose – The purpose of this chapter is to review and categorize how photographs have been used in management research and to provide strategic management researchers with suggestions about how to use photographs to enhance their qualitative research methodologies.
Methodology/approach – We develop a typology of photographic uses in management research by reviewing several scholarly journals.
Findings – We identify two dimensions that differentiate how photographs have been used in management journals. First, photographs can be used to illustrate scenes from a field setting or they can be interpreted as data. Second, the role of field participants can be one of active collaboration or no involvement in the photographic aspect of the qualitative research project. For instance, field subjects can collaborate in research by aiding in the photo-documentation process and/or aiding in the photo-elicitation process. Choosing which of our four identified photographic approaches represents a critical decision for qualitative researchers interested in incorporating photographs in their research.
Practical implications – We suggest ideas for strategic management researchers related to use of photographs in their research. Also, we describe how specific strategic management research projects can be approached with photography, which we argue can lead to enhanced theoretical contributions.
Originality/value of paper – To date, little has been written in the strategic management field about the use of photography. This chapter provides a succinct review of photographic methods in management research. Moreover, this chapter provides suggestions for how strategy researchers, study participants, and interested readers of management research could benefit from incorporating photographs into research accounts.