Schnettler - 2008 - Interpretative Visual Analysis Developments, State of the Art and Pending...

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Interpretative Visual Analysis

Developments, State of the Art and Pending Problems

Bernt Schnettler & Jrgen Raab

Abstract: The article offers a brief resume of recent developments in the field of interpretative

visual analysis with emphasis on the German speaking area and the sociological discipline. It lays a

special focus on hermeneutical and genre analysis and on research with audiovisual data. Far from

constituting an already closed field, the authors stress the fact that methodological advances in

qualitative research based in visual data still face a number of pending quests. This encompasses

sequentiality, compleity and naturalness of videographic data, and etends to the respective

methodological challenges for transcription, analysis and presentation of results.

Table of Contents

!.Introduction

".Interpretative #isual $nalysis: %recursors, &evelopment and 'tate of the $rt

(.The )ole of #ideo*$nalysis for +ualitative )esearch

.&esiderates and Future -hallenges for Interpretative #ideo*$nalysis

.!imetic properties and constructedness

."-ompleity

.(/aturalness

.'equentiality

.0Transcription and analysis

.1Technical and legal restrictions

0.-onclusion

)eferences

$uthors

-itation

1 Introduction

This tet begins with a brief resume of the history and development of visualanalysis in qualitative research 2"3, followed by a section in which we discuss thespecial contribution of video to the field 2(3. -onsequently, and in order toemphasise the ongoing process of developing both adequate and practicalmethods, we close with some reflections on desiderates and future challenges forInterpretative #isual $nalysis 2, 03. 4!5

6 "778 F+' http:99www.qualitative*research.net9fqs9Forum +ualitative 'oialforschung 9 Forum: +ualitative 'ocial )esearch 2I''/ !(8*01";3

#olume


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FQSernt 'chnettler ? @Argen )aab: Interpretative #isual $nalysis&evelopments, 'tate of the $rt and %ending %roblems

# Interpretative Visual Analysis$Precursors, Development and State of the Art

The particular properties and possibilities of visual data have been etensivelyused in the social sciences since the midst of the !ut despite the enormousefforts to broaden the field of Visual Sociology 2-$KFIC&, !


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of !

%arallel to the precursors of #isual 'ociology, researchers became increasinglyaware of the pervasive impact of mass media on society during the !


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mass mediaM 2KB$//, !


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standardising and quantifiable methods were established 2E-B ? K>$-B,"77"= ITTC/C-C), !$K-B, ! ? TL/C), "771= )$$>, "7783. $lso,within the hermeneutical tradition, initially applied mainly for the interpretation of

6 "778 F+' http:99www.qualitative*research.net9fqs9


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tets and conversations, this methodological approach progressively turned toother materials, as images and forms of visual mise en scenes, indeing thehistorically changing forms of epression, perception and presentation that arebeyond oral conversation and tets. This notion was taken up in differenthermeneutical approaches, like structural hermeneutics 2C/GI'-B, !, "77!, "77"= )$$>, G)K/C)T ? K'TIG, "77!= )$$> ?TL/C), !ut the incipient subsequent technological leap including KT'might stimulate a dramatic shift in communication usage, including video*messaging*services and mobile video*based communication, althoughepectations concerning a supposed Mperpetual visual contactM 2E'I/C/,"773 as facilitated by new technological devices like visually supported mobilephones may remain an unachievable future vision. Bowever, the production andusage of moving images, for the purposes of communication, challenges users

by generating a series of novel opportunities and problems, which may beproperly studied by social scientists with the aid of videographic inquiry. 4!(5

Finally, video*analysis was propelled forward by another important change inpublic use and application of visual technologies, which in Germany wasintroduced first with a certain reticence, but has then pervaded rapidly into vastsegments of the public, commercial, and even the private sphere: video*surveillance and --T# systems. These systems were set up to record,sometimes to collect and store, video data in diverse settings like observationcentres and control rooms, where video recordings are systematically sifted andanalysed. >eyond important ethical and legal implications, methodical questionand challenges for sociological analysis arise from that practice, with respect tothe etraction and combination of images, above all concerning how images are



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to be interpreted, especially with respect to its relevancies for inducing decisionsand orientations subsequent action 2FI'C, !? 'ECFF/C), "7713, despite the flourishing theoretical effort dedicated tovisuality, and reasoning on visual culture in Bumanities and in 'ocial 'ciences.$lthough there are already a wide array of eisting methodological approachesfor visual data in general 2cf. for eample >$/' ? E)%BD, !


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studies of technology and innovation 2)$C)T ? '-BK>C)T, "7713, inmemory research 2>$C), "7703 or in applied qualitative market research2'-BI&, "7713, to name but a few selected eamples of a rapidly increasingarea within qualitative studies. 4!;5

The fact of videoNs popularity is, however, framed by a number of fundamentalmethodological questions which have not been discussed to the etent a propermethodological debate would require in order to allow a conscious andprofessional legitimated application of this new research instrument. $mong themost demanding problems pending are questions like: what characteristics andproperties of video data are to be taken into consideration by social scientists atthe different stages of the research processS &o we have to distinguish betweendifferent types and qualities of video dataS Hhat epertise do we already have at

our disposal in recording, preparing, transcribing, analysing, interpreting andpresenting audiovisual dataS &espite the growing interest in visual research ingeneral, there has been relatively little debate on the specific methodologicaldemands of interpretative video analysis. 4!85

Interpretative video*analysis is a quite recent, though rapidly epandinginnovation in social science methodology. Today, it is used in a wide range offields in sociology and cognate disciplines. $pparently, video data shows anumber of benefits for social research. #ideo seemingly conveys insights intounknown features of the social world. It provides researchers with comprehensiverecordings of the successive unfolding of social interactions and with detailedaudio*visual data of their embedding in eisting social situations, settings andworlds. 4!


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knowledge perspective and this distinction was taken up by 'usanne . $/GC)2!


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world. Therefore, it is not only members of a certain culture that have toappropriate the increasingly comple forms of epression and meaning structuresby establishing new ways of interpreting them. oreover, the social sciencescannot avoid that something is becoming a subJect of its methodologicallycontrolled data production and analysis. The thing that not only shapes, butinherently determines the eperience and memory, the knowledge, action andimagination of social and historical understanding and is determining itincreasingly: the audiovisual media along with its images. 4"5

$t least in the wake of -ultural 'tudiesN success, visual analysis has become afied element beyond those disciplines traditionally occupied with visual forms likeart history and media studies. The reasons for this are, without doubt, manifold,but surely three factors have had a decisive influence: 2a3 the end of the

logocentric paradigm, 2b3 the massive dissemination of visual media, and 2c3 theproliferation and easy access to visual devices in scientific research practiceduring the last decade. En the one hand, the growing use of visual forms ofpresentation has been stated in large number of scientific disciplines 2BCI/T ?BK>C), "77!3. En the other hand, visual techniques of data production areincreasingly employed in the sciences. This growing relevance of visual andaudiovisual forms is intimately related to technological innovation, a process inwhich the social sciences are obviously benefitting from a general trend towardsaudiovisual recordings, which has come with a rapid miniaturisation and technicalimprovement of the corresponding video equipment 2better resolution quality, andcapacity3. ower prices for increasingly powerful cameras have undoubtedlyaccelerated this process. &igitalisation, has not only improved the quality ofaudiovisual recordings, but enabled the storage and handling, including sharingelectronic data within distributed research networks. 4"05

) Desiderates and *uture Challenges for Interpretative Video'Analysis

Hithin a culture progressively shifting from literacy to visuality, video recordingsare widely regarded by its members as MnaturalM, MholisticM, self*evident andtaken*for*granted representations of social occasions and events. For social

scientists however, video*data is the most comple, MmultimodalM data used inqualitative studies so far. $lthough technical innovations over the last decadehave significantly simplified its use, interpretative research with video*data stillrequires sophisticated methods of analysis. Today, we witness a growing interestin interpretative research with video dataQa fact that calls for deepening thediscussion of its methodological problems. Knlike other kinds of data the use ofvideo in social research seem to foster a certain fusionQor confusionQof datacollection 2recording3 with data analysis and interpretation, as well as with thepresentation of results which may lead to severe methodical problems. 4"15

For this reason and in order to discuss separately the pertaining problems ofeach area, we will consider the following three aspects that correspond todifferent stages in research with video data:



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!. %eneration of ieo ata'#ideo*based eplorations of social worlds andrelevant methodological and practical challenges for data generation includeproblems of field access, recording permission, solutions for legal, ethical andtechnical restrictions.

". (ethos of ata analysis an interpretationas developed in the areas ofethnomethodological video*analysis, video*hermeneutics, video*interaction*analysis, video*performance*analysis, that lay the bases for combining orrenewing eisting approaches.

(. )resentation of resultsin video*based interpretative research, which etend tocriteria for the selection, preparation and publication of results and new waysof integrating video*data into established and accepted forms of publishingscientific results. 4";5

From a methodological and methodical viewpoint, the following aspects are ofspecial relevance for Interpretative #ideo*$nalysis. 4"85

)1 +imetic properties and constructedness

The MmimeticM character of audiovisual recordings supportsQin contrast tostandardised research forms using videoQattempts to record social situations aseact and MundistortedM by the researchers as possible 2BC)>)I ? )OB,"77;3. The mimetic property of video does not imply a fundamentalepistemologicalposition, but results from the quite mundane domain of research

practice. #ideo recordings allow for a technically quick and facile production ofMdocumentsM, available as a pre*embedded skill in everyday practice.Cmphasising this Mnatural social positivismM in mundane video usage does,however, by no means equate to a methodological standpoint which equates witha similar belief in the MpositivisticM features of video data at the level its socialscientific usage. He do not hold the conviction that video actually would produceMauthenticM, undistorted, complete records of mundane situations. Bowever, weshare the memberNs view in the sense that videoQecept in quite rare casesQissupposed to be showing records of mundane situation which actually have takenplace and areQmore or lessQwell represented by the audiovisual material. Theyare, at least, documents ofa certain situation to some etent and are constitutedby a categorical difference from data which has been produced MartificiallyMeclusively for research purposes, as this is the case in data generated inlaboratories 2cf. /E>$K-B, "77 for a further debate on differentvideographic data*types3. 4"


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video as naturalistic data means to recognise both its conservation a wide rangeof aspects of the original situation, anits construction by the scientist mediatedthrough video technologies. 'election and focussing are the two main proceduresby which the scientist intervenes in the data construction 2$$//, !


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interpretation, and understanding. #isual media like camcorders and webcamsare multifunctional instruments which enable a wide array of potential usages,including their conscientious application for data production in qualitativeresearch. 4((5

The relative neglect of video in the social sciences is sometimes attributed to itscompleity and abundance. #ideo data is certainly among the most comple datain social scientific empirical research. It is multi*sensual and sequentially ordered,enclosing both diachronic and synchronic elements, e.g. speech and visualconduct, gesture, mimic epressions, representation of artefacts and thestructure of the environment, as well as signs and symbols. oreover, itrepresents aspects related to recording activity itself, such as the angle and thefocus of the camera, the cuts, and other elements pertaining to the activity of

filming and editing. Bence, video recording generates an etraordinaryabundance of data, confronting the researcher with the problems of datamanagement, retrieval and selection. This may not only cause data overload, butalso raises the question of how to select sequences appropriate for furthermicroanalysis. It might also be the case that the quality of the recordings may bedetrimental to analytic purposes. There may be interesting parts of video thatcannot be selected for further scrutiny due to, for eample, recording problems2wrong perspective, malfunction, blurriness, people running through the image,etc.3. >eyond such obvious practical restrictions, the methodological problem ofwhat constitutes the unit of analysis and how to assure a balance between time*consuming microanalysis and an overview over the whole data corpus remainopen questions for future methodological debates. 4(5

)% -aturalness

In contrast toQfor eampleQresearch designs using video within eperimentalsettings or artificial situations 2ITTC/C-C), !


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talked about in the interview3, but only as what they are: interviews oreperiments. In general, however, video analyses turn to more vernacularsituations: people at work, people in museums, people sitting in a cafV etc. It isthis orientation towards Mnatural situationsM that leads video analysts tosympathise strongly with ethnography, particularly the kind of ethnography whichturns towards encounters, social situations and performances as championed byCrving GEFF$/ 2!


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hermeneuticsM. They also share the methodological conviction that interpretiveanalysis of video*data requires more than Mvisual empathyM combined withdescriptive Mstructured microanalysisM as &C/I/ 2"7773 suggests. 'equentialityis one of the inherent characteristics bearing special relevance for the analyticalpotential of video data. Knlike other imagesQthink of paintings, photography orgraphicsQvideo and filmic data have a genuine sequential structure. Thisproperty can be eamined from two complementary perspectives: The first aspectof sequentiality lies in the continual temporal succession of movements within asingle take, what has been from its beginnings one of the most fascinatingqualities of film, as documented in eamples from early cinema. Hhile this maybe limited to a fied camera, the second aspect adds a further quality asepressed by the mobilisation of camera itself, in the shifts and ooming,dynamising the images and producing new temporal and spatial modulations.

-utting and editing are of maJor importance in this respect, because together withthe moving camera they enable the separation of scenes and the production ofcontinuity, as one of the basic narrative filmic devices 2see $K)IC), 'T)C>C? >)EH/, "778 for an insight to the comple task of professional editingpractice3. 4(;5

In this sense, the ongoing separation, 2re*3combination and permutation ofperceptual instances transforming and rearranging meaning structures, orcourses of action and interaction, is constitutive for those audiovisual data whichhave been edited. -utting and editing determine the organisation of space andtime and constitute central elements of showing and narration, which meansvisual*cognitive efforts of interpretation, because they guide and direct thespectatorsN gae and reception, and, ultimately, frame their understanding andinterpretation. In addition to the aforementioned aspects, which can be subsumedin general to the problem of continuity and succession of moving images, eists athird aspect of sequentiality: Bidden by the simultaneity of images and sound,there have been attached to moving images from the very beginning of media,voice, musical, sound, commentaries and dialogue. 4(85

)/ Transcription and analysis

/o doubt, the relation between the spoken and the visual is of generalepistemological importance and the relation between tet and image needs to beclarified. In the case of video analysis, however, this issue ehibits a verypractical aspect: the transcriptionof data inscribes in its particular way how thevisual is accounted for by the analysis, so that any further development of videoanalysis will also depend on the way in which data are being transcribed orotherwise made accessible for analysis. $nalysis will increasingly be able to drawon visual representation, with the result that written transcripts may lose theirimportance to such a degree as to potentially provide the way for a MvisualmentalityM in analysisQa mode of analysing that depends less on the written wordthan on visualisation and imagination. The ongoing technological changes mayalso affect the wayQand are already now affecting the waysQin which studiesare being presented 2cf. for eample >R'-BC), "7703Qhowever, for the timebeing, we still rely on the rather conventional forms of transcriptions and frame



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grabs. He need to consider that transcribing data is not Just a preliminary phaseof analysis. It forms an essential part of analysis. Transcribing generatesobservations that are fundamental to analytical inferences. $s in research basedon natural communicative activities or interviews, the transcription of video data issimply indispensable. 4(


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entailed from basic research equipment 2somewhere between the equipmentavailable for popular use and that used by television professionals3 easily mayamount to tens of thousands of CurosQin addition to the space, time andpatience required to select the appropriate apparatus and software. Its handlingrequires also novel technical skills, quite unprecedented in qualitative inquiry.$nd, unlike other, more conventional forms of qualitative research, e.g.participant observation or interviews, preliminaries and preparation takeconsiderably more time in qualitative video analysis. This may cause a certaindelay in the analytical work, as quite etended portions of time are consumed bymere McraftsmanshipM. $s a result, qualitative inquiry may even become moresimilar to quantitative research. $s in surveys, much work is invested inpreparation, providing skills to the coders, handling the data*collections etc. 4"5

Finally, one of the most salient problems is the legal issuesof video*recording.ike any other form of research, video analysis is subJect to legal and ethicalrestrictions. This concerns questions such as: where are video analysts permittedto film, who is permitted to record social interactions for analytical purposes,which of these images may be stored, analysed or even used for publication andthereby disclosed to a wider audience. $lthough there have been intense debateson issues related to video recording in public places, their focus has beenprimarily on security issues and the questions of infringement on individualsN rightto privacy. To our knowledge, there is no specific regulation for scientific videorecordings at the moment 2G$)'T$, "773. To assure that some kind ofMinformed consentM eists seems to be, in the meantime, the most reasonablepractical solution, although there may be cases in which this is virtuallyimpossible 2e.g. for each single pedestrian in wide*angle shots of public places3.In addition, unlike for eample the case of interview transcripts, anonymisation ofmoving images is a technically much more demanding task. -onsequently,respecting the right to privacy in video analysis is a difficult and as yet unresolvedproblem, in addition to the legal implications of possible infringements on copy*rights and other rights that may be touched on by capturing, recording, analysing,storing or publishing video data of some sort 2i.e. the fine distinction the legalsystems draws in the field of data protection in general3. egally, the use of videofor scholarly purposes of the kind described above oscillates between the

individual freedom, which puts particular restrictions on Mnatural recordingMpractices, on the one hand, and the freedom of research, which puts no limits onthe potential subJects of video recording to the etent that these may be ofscientific relevance. >ecause of the tension between these two etremes,researchers often find themselves caught in a dilemma. 4(5

/ Conclusion

odern societies are characterised by the increase of mediated and visualisedforms of communication. These ongoing changes impact deeply on socialrelations. ediated representations of reality tend to overlay the MnaturalMperceptions generated by the human senses. In other words, media products notonly increasingly surround people in their everyday*life, but photographs, movies,T#*broadcasts, video*productions, and virtual computer*worlds influence their



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perception of reality fundamentally. In effect, humanities and social scienceresearchers must answer questions like: To what etent do technicalconstructions of reality alter the forms of human self*interpretation and self*representationS Bow do the audiovisual media shift and etend the potential forthe human construction and attribution of meaningS $nd not least, which newrequirements for the interpretation, and which new challenges to theunderstanding of meaning come into being in everyday*life 2e.g. in the receptionof mass media3, as well as in social*scientific documentation and analysis ofvisual dataS 45

Genre analysis and video hermeneutics have recently been developed asprocedures for the generation, documentation, and understanding of audiovisualdata. >oth are closely related to the theory of the social construction of reality

2>C)GC) ? K-$//, !

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Theye, Thomas 2!

Heibel, %eter 2!ern: >enteli.

Heibel, %eter 2!ern: >enteli.

Hillems, Berbert 2!

Institut fAr 'oiologie

Fachgebiet $llgemeine 'oiologie und Theorieoderner GesellschaftenFranklinstr. "89"erlinGermany

Tel.: ZZ < (7 (! ;


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Jrgen RAABis %rofessor at the KniversitYtuern, 'witerland and the Kniversity ofonstan, Germany.

-ontact:

@Argen )aab

ultur* und 'oialwissenschaftliche FakultYt'oiologisches 'eminarasernenplat (, -B*1777 uern ;'witerland

Tel.: ZZ ! ! ""8 ;7 ""Fa: ZZ ! ! ""8 ;( ;;

C*mail:@uergen.raab`unilu.chK):http:99www.unilu.ch9

Citation

'chnettler, >ernt ? )aab, @Argen 2"7783. Interpretative #isual $nalysis. &evelopments, 'tate of the$rt and %ending %roblems 40 paragraphs5. Forum Qualitatie So-ialforschung ? Forum' Qualitatie

Social Research, @2(3, $rt. (!, http:99nbn*resolving.de9urn:nbn:de:7!!*fqs787((!.
mailto:[email protected]:[email protected]://www.unilu.ch/http://www.unilu.ch/http://www.unilu.ch/mailto:[email protected]://www.unilu.ch/

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