Ever since the camera was invented people have been using it as a tool to reflect and record the world around them. Photographic images have great potential to investigate different social practices and phenomena in the world. Photography, in its own right, is an extremely large area of study. Despite its relatively short history, photography has undergone a broad and complex evolution since it was invented in 1840. This paper does not aim to cover the comprehensive history of the development of photography in its many facets, it aims however to concentrate on a specific area of what has come to be termed visual sociology and the potential of the still photographic image as a primary tool within the field. Visual sociology is a marginal, experimental area of sociology, it is a field which has not been given due consideration by many sociologists due to its unscientific nature and one which remains unfamiliar to many social documentary photographers. This paper traces the history of visual sociology and explores its roots and links with social documentary photography. It explores the established methods of visual data collection that are utilised within the field of visual sociology. It also explores a further sub-discipline, urban sociology and the role of the image in investigation of urban phenomena. The resulting practical component of this research is an extensive urban photographic investigation shot over the period of one month in the city of Tokyo. The resulting series of images exist as a type of photographic visual map of ‘city creatures’ ubiquitous in the urban environment. The series aims to constitute as a visual, cultural survey about an aspect of social life within the Japanese urban context.

Ever since the camera was invented people have been using it as a tool to reflect and record the world around them. Photographic images have great potential to investigate different social practices and phenomena in the world. Photography, in its own right, is an extremely large area of study. Despite its relatively short history, photography has undergone a broad and complex evolution since it was invented in 1840. This paper does not aim to cover the comprehensive history of the development of photography in its many facets, it aims however to concentrate on a specific area of what has come to be termed visual sociology and the potential of the still photographic image as a primary tool within the field. Visual sociology is a marginal, experimental area of sociology, it is a field which has not been given due consideration by many sociologists due to its unscientific nature and one which remains unfamiliar to many social documentary photographers. This paper traces the history of visual sociology and explores its roots and links with social documentary photography. It explores the established methods of visual data collection that are utilised within the field of visual sociology. It also explores a further sub-discipline, urban sociology and the role of the image in investigation of urban phenomena. The resulting practical component of this research is an extensive urban photographic investigation shot over the period of one month in the city of Tokyo. The resulting series of images exist as a type of photographic visual map of ‘city creatures’ ubiquitous in the urban environment. The series aims to constitute as a visual, cultural survey about an aspect of social life within the Japanese urban context.

Thesis (Ph.D.)--Ohio University, June, 2009. / Title from PDF t.p. Includes bibliographical references.

La migration économique en France des Marocains, Tunisiens, Algériens dans différentes phases historiques du XXe siècle est - et fut- l'objet de nombreuses études. En revanche, la migration dans le sens France-Maghreb n'a été que peu abordée, bien qu'elle constitue pour de plus en plus de retraités un choix mûrement consenti pour aborder cette période de l'existence.« Migration inversée » s'est focalisée sur les Français migrant au Maroc au moment de leur retraite, et dont la migration constitue soit un retour aux sources – puisque certains sont natifs de ce pays alors sous régime de protectorat –, soit une migration économique, devant la perte d'un pouvoir d'achat occasionné par le passage à ce nouveau statut. L'expression Migration inversée renvoie donc ici, par symétrie, à ces milliers de Maghrébins qui, pour des raisons économiques, avaient quitté leur territoire d'origine, leur famille, afin de migrer vers l'Europe.Toute migration interroge l'espace, l'économie et la société de référence tout autant que la société d'installation. Pourquoi, dans l'esprit d'un retour même symbolique vers leurs racines, certains retraités quittent la France, pays dont ils portent la nationalité, pour s'installer – ou se réinstaller dans un pays du Maghreb, culturellement et socialement différent de celui où il ont passé l'essentiel de leur existence. Première migration ou ré-émigration, ces deux situations seront abordées à partir de l'expérience des individus interrogés dans le cadre de cette étude.Par réflexivité, cette thèse en sociologie visuelle et filmique interroge les frontières entre le chercheur/ le réalisateur et l'apport d'un point de vue méthodologique de l'outil filmique dans le cadre d'une recherche. / First and foremost the economical migration about Moroccan, Tunisian, Algerian is the items of various studies in France. Nonetheless the contrary is not much approach same if the migration France-Maghreb increase among pensioners. It s rational choice to come up to the senior. This thesis take place to reverse these migratory flows all migration accept area economy and the reference society juste as much the news society. Last but no least, this thesis is sociologie ask the border between the research and the producer.

Man-made objects are an expression of both the social organisation in which they were produced and the communicative context in which they appear and are used. In this respect, they represent easily accessible material, which is highly suitable for and useful in reconstructing the social structures in organisations and opening up latent structures of meaning for analysis. Nevertheless the analysis of physical materials has tended to live a shadow existence. This paper presents a hermeneutic method of analysing artefacts in organisations. The basic concept centres on the reconstructing of the processes of meaning and organising in social systems. After providing a brief introduction to the methodological principles, the paper goes on to discuss this method in greater detail. Concrete examples of the study of specific materials in an organisational analysis context are used to ground the interpretation of artefacts in the overall organisational analysis context. The paper closes with a discussion of the possibilities and limitations of this kind of analysis. (authors' abstract) / Series: ["p_series_typename_S48" not defined]

Inaugurele rede Universiteit van Amsterdam, 2008. / Onder auspiciën van de Universiteit van Amsterdam. Description based on print version record. Includes bibliographical references.

This thesis explores the argument that inherent in medical treatment interventions for chronic hepatitis C, there are certain implicit ontological assumptions about the relationship between the body, disease, and society. Focusing primarily on biomedical practices, it is argued that these assumptions might have a profound effect on the world-views of patients undergoing them. This in turn, might have far-reaching sociological implications. Using a methodology specifically developed for the purpose of explicating the ontological assumptions inherent in medical treatment, the visual and narrative texts produced by thirteen hepatitis C positive participants are examined. A deconstructive analytical approach is then applied to these texts as they relate to the treatment interventions pursued by participants. An exploration of the way participants engage with, negotiate, and/or resist the discourses and assumptions inherent in biomedicine, traditional Chinese medicine, and to some extent naturopathy, is conducted. Two broad ways in which the participants visualise the relationship between disease and their bodies, relating to treatment undertaken, are identified. The possible social implications of these are then suggested. The first, and predominant view, is aligned with biomedicine. The relationship between disease and the body is antagonistic in this view. It is suggested that this way of seeing might naturalise xenophobic attitudes and perpetuate social conflict. The marginal view is related to non-biomedical treatments for hepatitis C. The relationship in this case is the result of a negotiated accommodation with the disease. It is suggested that such a view might allow for non-resistant social tolerance of that which is perceived of as new and different. This qualitative study contributes to the body of knowledge in the field of the sociology of health and illness in two ways: Firstly, it proposes a methodology that may be taken up or adapted for future sociological research, and secondly, it suggests something of the social and political nature of treatment decisions made by people living with chronic hepatitis C.

in many daily forms of media we see the nation being represented by or alongside images. These images of the nation inform the way we see both others and ourselves. This thesis attempts to understand the way the nation is visualized, a topic that has been largely overlooked by theorists of nationalism. The visualization of the nation is explored by researching two national tourism campaigns in Croatia. Croatia was chosen as a case study in which to examine the visualization of the nation due to its recent accession into the European Union alongside the country’s economic dependence on tourism and its current attempts at rebranding. In order to achieve the aims of this research I ask two main research questions: 1. How is the nation visualized in Croatia through tourism advertising and by whom?, 2. How is this visualization received by members of the nation? These questions were answered by combining three methodological steps which consisted of a visual analysis of the images of the campaigns, interviewing those involved in creating the campaigns and other members of the design or tourism community, and finally photo elicitation interviews with members of the Croatian public. This research found that Croatia is often peripheral within these tourism campaigns. The nation is represented passively with the main focus of the advertisements being the experience of tourism. Croatia is merely the backdrop that these tourism activities are being advertised through. This passive representation of Croatia is a consequence of an industry that is focused on increasing tourism numbers and that relies heavily on marketing data. The representation of Croatia is not the aim of these tourism campaigns. The passive image of the nation is additionally the consequence of Croatia’s uneasy relationship with presenting something as national. National pride is often equated with violent forms of nationalism and therefore visual representations of the nation are often eliminated from the positive marketing images of the tourism campaigns. Both members of the nation and the industry downplay the importance of tourism advertising arguing that these images are solely for the tourist and therefore they are largely insignificant. However, I use du Gay’s (1997) concept of the ‘circuit of culture’ to argue that tourism advertising is not just influenced by national identity but rather it is also influencing national identity. These tourism campaigns contribute to the construction of national identity. Therefore, this passive image of the nation is not just for tourists, it is part of a circuit of identity construction that reaches far beyond the target audience. Overall, these tourism images are simplistic and reductive imitations of the nation while national identity is complex, inconsistent, and often contradictory. Branding and design often aims to condense identity into easily recognizable and quickly communicated images making any attempt to brand the nation inherently lacking. While this reductive identity is useful when branding a company or product, when applied to the nation ethical questions emerge about who has the right to construct the nation’s image. I argue that this new phenomenon of commercialized branding that is now a responsibility of the nation is evidence of the changing role of the nation from a modern construction to a postmodern brander. This opens up questions about the democratic nature of these tourism images and consequences of nation branding efforts that continue to represent the nation in reductive and passive terms.

Thesis (DPhil)--Stellenbosch University, 2005. / ENGLISH ABSTRACT: South African society presents a complex and diverse environment to social scientists. Within immense economic stratification; a multitude of cultures and classes; languages and their dialects; and varied racial groups, researchers attempt to produce information that contributes constructively to policy, programs and a host of services. Beneath the surface also lay complex power issues informed by both political and cultural histories. Many contexts in which researchers find themselves continue to be marginalised and oppressed due to factors such as illiteracy and low-levels of education, age, gender and poverty. These groups often include women and children, in particular adolescents. Qualitative visual methods may provide researchers with a tool by which to address many of the concerns raised in the literature surrounding research carried out under such conditions. Visual methods may remove inherent power imbalances, as well as traditional barriers, such as culture and language, that stem from more 'conservative' research methods. Images may allow participants to vocalise the taken-for-granted in their lives in an empowering manner. The recognition and use of visual images in research with marginalised and oppressed groups is being increasingly recognised by the larger research community. A preliminary overview of the available literature highlights existing disagreement surrounding the theoretical underpinnings of visual methods. This is particularly seen in the various and confusing levels of abstraction presented in the literature. The primary aim of this study is therefore, to gain clarity and understanding as regards the methodological and epistemological underpinnings of visual research methods within the social sciences. As such, a comprehensive literature review has been conducted. A second aim of the study is to set out a typology of methods that would be relevant for use in marginalised communities. The third aim of the study is empirical in nature and aims to highlight the role and/or possibilities of visual research methods within the South African social sciences research context. This is achieved by means of a case study which explores how motherhood is experienced by five teenagers in a sub-economic community outside of Cape Town. It does this by providing participants cameras with which to visually express their understanding and experiences of motherhood. Processed photographs in this case study have been analysed by means of informal discussion, directed by the images, with the participants themselves. These discussions were recorded and transcribed. The results of the interviews were then analysed using grounded theory (Glaser & Strauss, 1967). The results emerging from this have been compared with relevant literature. In this way, results are also triangulated, adding to their reliability (Lucchinni, 1996). Consequently, results of this case study provide a comparative component by which to assess the applicability of visual methods in the South African research context. Both the literature review as well as experiences of the case study also form the basis of suggestions for further exploration. / AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse gemeenskap bied 'n komplekse en diverse omgewing aan sosiale wetenskaplikes. Binne hewige ekonomiese stratifikasie; 'n verskeidenheid kulture en klasse; tale en dialekte en diverse rassegroepe, poog navorsers om inligting te verskaf om 'n konstruktiewe bydrae te maak aan riglyne, programme en 'n legio dienste. Onder die oppervlakte lê daar ook komplekse magstryde afkomstig van beide 'n kuitereie en politieke geskiedenis. Vele omstandighede waarin navorsers hulself vind word steeds oorheers deur marginalisasie en onderdrukking as gevolg van faktore soos ongeletterdheid, lae vlakke van opvoeding, ouderdom, geslag en armoede. Hierdie groepe bestaan dikwels uit, onder andere, vroue en kinders. Kwalitatiewe visuele tegnieke mag navorsers van die nodige metodes voorsien waarmee verskeie probleme wat in die literatuur uitgelig word aangaande hierdie navorsing, aangespreek kan word. Visuele tegnieke mag inherente magsongelykhede, sowel as tradisionele struikelblokke, soos kultuur en taal wat afkomstig is uit meer 'konserwatiewe' navorsingstegnieke, verwyder. Uitbeeldings mag deelnemers toelaat om die vanselfsprekende in hullewens in 'n opbouende wyse te vokaliseer. Die identifisering en gebruik van visuele uitbeeldings in navorsing met gemarganaliseerde en onderdrukte groepe word tot 'n toenemende mate erken deur die uitgebreide navorsingsgemeenskap. 'n Voorlopige oorsig van die beskikbare literatuur beklemtoon bestaande onenigheid met betrekking tot die teoretiese fondamente van visuele tegnieke. Dit is veral duidelik sigbaar in die uitgebreide en verwarde vlakke van abstraktheid wat in die literatuur voorgestel word. Die primêre doelwit van hierdie studie is dus om groter helderheid en insig met betrekking tot die metodologiese en epistemologiese grondbeginsels van visuele metodes, soos dit in die sosiale wetenskappe voorkom, te verkry. Met hierdie doel voor oë is 'n uitgebreide literatuurondersoek onderneem. 'n Tweede doel van die studie is om 'n tipologie van metodes uiteen te sit wat relevant kan wees in gemarginaliseerde gemeenskappe. 'n Derde doel van die studie is empiries van aard en beoog om die rol en/of moontlikhede van visuele tegnieke binne die Suid-Afrikaanse sosiale wetenskaplike navorsings konteks te beklemtoon. Dit word bereik deur middel van 'n studie wat ondersoek hoe moederskap ondervind word deur vyf tieners in 'n sub-ekonomiese gemeenskap in die buitewyke van Kaapstad. Dit word uitgevoer deur deelnemers te voorsien van kameras waarmee hul begrip en ondervindings van moederskap visueel uitbeeld. 'n Verdere analise van hierdie studie is deur middel van informele besprekings uitgevoer met die deelnemers, begelei deur die uitbeeldings. Sodanige besprekings is opgeneem en getranskribeer. Die resultate verkry vanuit die onderhoude is daarna geanaliseer deur middel van begronde teorie (Glaser & Strauss, 1967). Die resultate wat hieruit afkomstig was, is vergelyk met relevante literatuur. Op hierdie wyse is resultate bevestig, wat ook verder tot hul betroubaarheid gespreek het (Lucchinni, 1996). Die gevolg is dat die resultate van hierdie studie 'n vergelykende komponent verskaf waarmee die toepaslikheid van visuele tegnieke in die Suid-Afrikaanse navorsingskonteks gemeet kan word. Beide die literatuurstudie, asook die ondervindings vanuit die gevallestudie vorm die basis vir aanbevelings vir verdere ondersoek.

The topic of this thesis is Film as a Reflection of the Social Situation (in the Perspective of Sociological Analysis). Its aim is to look at the issue of the film from a sociological point of view. This work consists of a theoretical and practical part. The theoretical part describes basic approaches to the film as they appeared during the 20th century in selected disciplines and sociology. Thus, the theory contains rather a basic overview of the possible starting-points for working with film. The next part of this work is a practical research project, which is dealing with a specific area of the Czech historical film in the late sixties of the 20th century. The aim of the second part is to link theoretical principles with their practical use in the sociological analysis of the film, which is set within the contemporary culture and the social context of the Czechoslovakia in the sixties of the 20th century. The practical part, in which four Czech historical films were analyzed, confirms the essential idea of this thesis - the film is the reflection of the social reality. Key words: media, film, sociological analysis, visual sociology, collective memory