Visual Sociology: Prosser, Chapter
Two – An Argument for Visual Sociology by Douglas Harper.
A summary of key points, focusing on
the Idea of Cultural Critique.
Overall in his essay Harper is
suggesting that visual sociology is a useful means of ‘integrating’ traditions
that were first identified through anthropological visual ethnography and
documentary photography to support the argument that visual sociology is a
solid qualitative method of investigation and that newer ‘postmodern’ ways of
thinking about ethnography both challenge and extend visual sociology’s
potential as a valid form of study.
The Bateson and Mead study is key
within Harpers text as it not only reinvigorated but illuminates the power of
visual images; the methodology used frames the difficulties of context from cultural
criticism regarding validity and reliability from a very subjective method
trying to portray objective realism.
Bateson & Mead had ten years experience of the culture they studied
and took streams of images of daily life, no effort was afforded to construct
imagery or reconstruct events. The aim
was to capture statements of intangible relationships that words could not
explain. This methodological endeavour
is what is known as the realist tale of ethnography; to observe objectively and
interpret visual imagery according to theory.
Realist tale objectivity has been criticised due to the inseparable
subjectivity of the image maker which has discredited this ethnographic method (Harper 2006:25-7).
Harper notes Becker (1964) highlights
the issues of validity and reliability in stating that photos are often thought
of as truths, when more accurately they are reflections of the photographers
point of view, biases and knowledge of the world. Further, Steven Gold
contributes important points of ethical considerations within cultural context.
Stating visual imagery is a more intrusive method, taking the time to gain
understanding of the sensitivities of their subjects and the cultures of others
is a fundamental process in visual or any sociology (Harper 2006:29-30).
Harper then points out that the
discrediting criticisms of the realist method give raise to the New Ethnography
which challenges the very idea of analysis and moves back to experience, not to
understand objective reality, but to “reassimilate
and reintegrate the ‘self’ into society and to reconstruct the conduct of
everyday life” (Harper 2006:31). The
argument here is that New Ethnography in its postmodern rejection of objective
reality is usefully thought of as a “creative
tale” that can describe reality more successfully if it steps out with
modernity’s standards of scientific inquiry. Kondo and Tyler make important points in
favour of new ethnography; emphasising the author’s voice, point of view and
experience can help monitor the cultural descriptions of researchers, image
makers and others (Harper 2006:30-1).
Harper projects the dangers of
subjectivity and the power of imagery in the ideas of Lukacs, Benjamin, Adorno
and Marcuse, who developed the idea that art reflects the social organisation
and preference of those who produce it. Examples can be seen in photo montage
used to illuminate, reject or reinforce ideologies. Harper uses Gramsci to illustrates how powerful
cultural influences are using his statement that to overturn capitalism it
would take more than simply seizing power
- a counter-culture would need to be incubated and born.
The key issue Harper is trying to
deliver is that the meaning of photographs are constructed by the maker and the
viewer, both of whom carry their own social positions and interests, saturated
by their own cultures, thus the meaning of photographs change in different
cultural contexts. A double consciousness (Hall 1996) or critical consciousness
is vital to be able to know a culture well enough to move within it but also
remain sufficiently outside it to examine it critically.
Harper then discusses the call of New
Ethnography, which suggests a collaborative rather than one way flow of
information from a subject. Photo
elicitation is used as an example of a model for visual images to gather data,
a variation on open ended interview techniques whereby the subject interprets
the image of their world and the research listens, often revealing very
different understandings of meaning.
Harper emphasises and directs his
argument back to Becker (1964) in stating to accomplish in-depth understanding
old traditions of conducting immersive field work driven by theoretical
questions is useful. Harper argues the
point that when entering the field it should always be at the forefront of the
image makers mind that everything they see and the images they make will be created
through their own cultural lenses, however through awareness; an iterative and
reflexive process can help the image maker see the world through other cultural
lenses. This backs up Harpers argument
for the importance of theory, by framing our sociological pursuits within
sociological theory or concepts researchers can be again detached from their
own cultural biases, values and beliefs and work within a knowledge base of
sociological concepts to either adapt, confirm, further or change the knowledge
we have and how we understand ‘the social’.
Reference:
Prosser, J. (2006) Imaged Based Research: A Sourcebook for Qualitative Researchers.
London: RoutledgePalmer.
