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This paper discusses video ethnography as part of a multimethod study of the introduction of information technology to streamline pathology test order entry in hospitals and its effect on the work of pathology laboratory scientists. The paper opens with an overview of video research in health care settings. After acknowledging the limitations inherent in video data, the paper offers a description of how video footage served to enhance insight in three ways. First, the footage enhanced the researchers’ own appreciation of the significance of particular facets of the data, which led them to reassess information collected through interviewing, focus groups and research field notes. Second, the footage enhanced the pathology laboratory scientists’ appreciation of the problems they experienced when incorporating the new information technology into their daily work practice, by enabling them to articulate these problems to outside researchers. Third, by being watched (by the video camera) and by watching themselves perform their work they were enabled to redesign their practices. The paper suggests that, as a result of interactively performing their work in front of the camera, the scientists came to apprehend their practices ‘from under a different aspect’. The paper concludes that by allowing video ethnography as a research method to remain underdefined and emergent, the modality of engagement and uptake shown by participants in the video research can be considered as a further enriching aspect of video ethnography as a research process.

In this article, research as “mass media” (Luhmann) is appraised. “Videocy” or videoed research results are examined. A form of video research with its roots in action research, Delphi methodology and visual anthropology is reported on. The simulacra it produces, wherein feedback loops are used to produce an effect similar to the fractali‐zations of complexity, achieves a powerful reality‐effect. But is it a “responsible” form of (research) practice?

The purpose of this paper is to report on video making in two different contexts within the Community Arts Zone research project, an international research project concerned with the connections between arts, literacy and the community.

At one project site, researchers and parents from the community filmed their children making dens with an artist. At another site, a professional film crew filmed young people engaged in arts practice in school settings.

In both cases, researchers, artists and community participants collaborated to do research and make video. This paper discusses the ways that this work was differently positioned at the two sites. These different positionings had implications for the meaning ascribed to video making from the point of view of the participants, researchers and artists involved.

By drawing on perspectives of researchers and artists, the paper explores implications for video making processes within ethnographic research. These include a need for awareness of the diversity and fragmentation of the fields of both visual research and visual arts practice. In addition, the relationship between research and the visual is unfolding in a context in which the digital is increasingly ubiquitous in everyday life. Therefore the authors argue for the need for researchers and artists to explore their epistemological assumptions with regards to video and film, and to consider the role of the digital in the lives of their participants. The coming together of these positions and experiences is what constructs the meaning of the digital and visual in the field.

The global call to ‘leave-no-one behind’ cannot be achieved without tacking the intractable social issues faced by the most excluded people. There is increasing interest in using visual methodologies for participatory research in contexts of marginalisation, because they offer the potential to generate knowledge from people’s lived experience, which can reveal subjective, emotional, and contextual aspects missed by other methods; alongside the means for action through showing outputs to external audiences. The challenge is that the perspectives of those in highly inequitable and unaccountable contexts are – by definition – rarely articulated and often neglected. The author thus begins by assuming that there are unavoidable tensions in using visual methods; between perpetuating marginalisation by inaction, which is ethically questionable; and the necessary risks in bringing unheard views to public attention. Many experienced practitioners have called for a situated approach to visual methods ethics (Clark, Prosser, & Wiles, 2010; Gubrium, Hill, & Flicker 2014; Shaw, 2016). What is less clear is what this means for those wanting to apply this practically. In this chapter, the author addresses this gap through the exemplar of participatory video with marginalised groups. Drawing on cases from Kenya, India, Egypt, and South Africa, the author contributes a range of tried-and-tested strategies for navigating the biggest concerns such as informing consent; and the tensions between respecting autonomy and building inclusion, and between anonymity and supporting participant’s expressive agency. Through this, the author provides a resource for researchers, including prompts for critical reflection about how to generate solutions to visual ethical dilemmas in context.

This chapter presents a novel method for using PechaKucha presentations to generate and analyze participant-generated video data. As a data source, participatory video (PV) differs from ethnographic or archival video by relying on participants to tell their own stories. As a presentation technique, PechaKucha produces six-minute-and-forty-second, narrated slideshow presentations. The slideshows or recordings from live PechaKucha presentations are a dense form of PV that is easier to code and analyze than traditional sources of PV. This chapter describes the procedures to capture and analyze PechaKucha-based PV and illustrates considerations for researchers who plan to use PV to gather data.

This study aims to examine the methodological and method-related challenges and opportunities arising from the use of video interviews in qualitative accounting research, focussed on collecting contextual data and visual cues, enriching communication quality and building and maintaining rapport with interviewees.

Prior literature and the authors’ experiences using video technologies for research, including conducting interviews, inform this research. This study uses a transactional conceptual refinement of information richness theory and channel expansion theory to critically analyse the challenges and opportunities of using video technology to conduct qualitative research interviews.

The ability, need for and significance of collecting contextual data depend on the researchers’ ontological and epistemological assumptions, and are, therefore, influenced by their research design choices. Video technology enables researchers to view research settings by video. In addition, whilst group/panel interviews have their advantages, it is often difficult to get everyone together in person, something video technology can potentially overcome. The feasibility and the quality of video interviews can be improved if both interview participants are experienced with using video technology, as well as with judicious investment in good quality video technology and through testing and practice. We also discuss how rapport building with interviewees can be facilitated by overcoming the video’s sense of disconnect and enhancing interviewees’ willingness to engage.

The study builds on the limited prior literature and considers the challenges and opportunities related to methodology and method when conducting video-based qualitative interviews in accounting research. Broadly, qualitative researchers will find the paper useful in considering the use of video interviews and in making research design choices appropriate for video interviews.

The author argues for the use of unedited, fixed-camera-position video footage in relationally responsive research grounded in Bakhtinian dialogic theory. The purpose of this paper is to offer an empirical example of such a use, and shows how this contrasts with an ethnomethodological interactionist use of similar types of video footage.

The empirical material is taken from an ethnographic study of a project group in the UK, in which video is used alongside other data during the fieldwork period.

The author proposes that the audio-visual detail of social interaction and the sense of experiential immersion upon re-viewing can provide a “talking back” dialogic potential for video recordings, that helps to show multiple narratives in social interaction other than the researcher’s original interpretation, and that points to new ways to engage with research participants.

The paper focuses specifically on unedited video footage that is generated through fixed-camera positions. It is also limited to the ethnographic fieldwork period rather than the textual practices of writing up research.

The purpose and positioning of unedited, fixed-camera-position video footage in the empirical study is contrasted with other research approaches to video. Through this contrast, the paper offers methodological support for a way of using such footage which brings out a range of voices and alternative perspectives on social interaction.

The paper contributes to the methodological literature by discussing a research approach in which both interactionist and phenomenological qualities of video footage were combined to develop a radically reflexive (Cunliffe, 2003) purpose for video in relational research.

The purpose of this paper is to increase awareness of the benefits of using video in research, especially for studies involving young children.

The paper points out the benefits of the use of video‐based research.

The paper suggests that video‐based research can work alongside traditional research techniques – by adding a camera researchers can record and document non ‐verbal responses, allowing much more data to be captured and analysed, from facial expression to a plethora of emotions. The implications of using video in research are beneficial to both the researchers and respondents alike. Video has a very high response rate – respondents reply to an innovative approach and seize the opportunity to climb on to the closest thing they have to a real life soapbox. Young consumers, who can find it difficult to articulate their thoughts in other forms of research, can be observed and understood much more easily through video. Video research also has the possibility to transform not only the way research is conducted, but also the image of the MR industry. By updating research techniques to include video one can change the perceptions consumers have of the practice and increase the speed at which research is delivered and the amount of people with whom it is shared.

It is more memorable and safer to have visual evidence of consumers rather than relying on mental pictures; as face‐to‐face contact research dwindles with the rise of e‐research this paper will be of value to anyone looking to find ways to tackle the problem of the faceless consumer.

This study explores whether and how four main factors of short-branded video content (content matching, information relevance, storytelling and emotionality) facilitate consumer engagement (likes, comments and shares), as well as the moderating effect of the release time (morning, afternoon and evening) in such relationships.

This study uses Python to write programs to crawl relevant data information, such as consumer engagement and short video release time. It combines coding methods to empirically analyze the impact of short-branded video content characteristics on consumer engagement. A total of 10,240 Weibo short videos (total duration: 238.645 h) from 122 well-known brands are utilized as research objects.

Empirical results show that the content characteristics of short videos significantly affected consumer engagement. Furthermore, the release time of videos significantly moderated the relationship between the emotionality of short videos and consumer engagement. Content released in the morning enhanced the positive impact of warmth, excitement and joy on consumer engagement, compared to that released in the afternoon.

The findings provide new insights for the dissemination of products and brand culture through short videos. The authors suggest that enterprises that use brand videos consider content matching, information relevance, storytelling and emotionality in their design.

From a broader perspective, this study constructs a new method for comprehensively evaluating short-branded video content, based on four dimensions (content matching, information relevance, storytelling and emotionality) and explores the value of these dimensions for creating social media marketing success, such as via consumer engagement.

Marketing and consumer researchers have only recently been able to put videographic methods into their data collection and research representation toolkits. This paper provides an overview of these methods and offers some guidelines for their use.

We offer an overview of videographic methods that illustrates the considerable choice and diversity offered to budding videographers. With examples from different kinds of marketing and consumer research, from academia as well as marketing research practice, we survey, critique, and make recommendations about some of the best ways to use this method. We also promote current and existing venues for distributing videographic work.

We find videographic methods full of promise and in the early introduction growth stage in marketing and consumer research. Combined with decreases in the cost and availability of digital recording media, videography is ready for prime time.

Much observational data have been to a large extent “left on the table” because there have been no convenient, reliable, and cost‐effective ways to capture and analyze them and build them into our research theories and representations. In this paper, we present an overview and a set of detailed examples that help to develop, systematize, and begin institutionalizing videographic methods in consumer and marketing research. The result is consumer and marketing research more attuned to the lived realities of everyday consumption, and a broadened research toolkit to capture and expressively present these realities.