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.