This is an innovative introduction to the use of photography, collaborative video, drawing, objects, multi-media production and installation in research. Claudia Mitchell explains how visual methods can be used as modes of inquiry as well as modes of representation for social research. She provides a range of conceptual and practical approaches to a variety of tools and methods, while also highlighting the interpretive and ethical issues that arise when engaging in visual research. She draws on her own work throughout to offer extensive examples from a variety of settings and with various populations.

An in-depth look at the many ways women around the world helped shape modern photography from the 1920s to the 1950s as they captured images of a radically changing world During the 1920s the New Woman was easy to recognize but hard to define. Hair bobbed and fashionably dressed, this iconic figure of modernity was everywhere, splashed across magazine pages or projected on the silver screen. A global phenomenon, she embodied an ideal of female empowerment based on real women making revolutionary changes in life and art--including photography. This groundbreaking, richly illustrated book looks at those "new women" who embraced the camera as a mode of expression and made a profound impact on the medium from the 1920s to the 1950s. Thematic chapters explore how women emerged as a driving force in modern photography, bringing their own perspective to artistic experimentation, studio portraiture, fashion and advertising work, scenes of urban life, ethnography and photojournalism. Featuring work by 120 photographers, this volume expands the history of photography by critically examining an international array of canonical and less well-known women photographers, from Berenice Abbott, Dorothea Lange and Lola Álvarez Bravo to Germaine Krull, Tsuneko Sasamoto and Homai Vyarawalla. Against the odds, these women produced invaluable visual testimony that reflects both their personal experiences and the extraordinary social and political transformations of the era.

Across the world, it has remained a significant challenge for women to be heard within crucial components of society. Male domination has a vast history of restricting the visibility and voices of women in areas including economics and politics. In recent years, however, those longstanding barriers are beginning to crumble as feminism and women’s rights have become vital areas of research. Understanding the importance of having a voice and its relation to the construction of women’s empowerment, as well as existing limitations in global regions, is imperative. Multidisciplinary Perspectives on Women, Voice, and Agency is a collection of innovative research on the examination of giving voice to women’s issues in the contemporary world and their increasing impact within the various pillars of society. While highlighting topics including social change, digital activism, and inclusion, this book is ideally designed for researchers, activists, policymakers, practitioners, politicians, advocates, educators, and students seeking current research on women empowerment and the interpretation of women’s voices throughout the globe.

What’s a Cellphilm? explores cellphone video production for its contributions to participatory visual research. There is a rich history of integrating participants’ videos into community-based research and activism. However, a reliance on camcorders and digital cameras has come under criticism for exacerbating unequal power relations between researchers and their collaborators. Using cellphones in participatory visual research suggests a new way forward by working with accessible, everyday technology and integrating existing media practices. Cellphones are everywhere these days. People use mobile technology to visually document and share their lives. This new era of democratised media practices inspired Jonathan Dockney and Keyan Tomaselli to coin the term cellphilm (cellphone + film). The term signals the coming together of different technologies on one handheld device and the emerging media culture based on people’s use of cellphones to create, share, and watch media. Chapters present practical examples of cellphilm research conducted in Canada, Hong Kong, Mexico, the Netherlands and South Africa. Together these contributions consider several important methodological questions, such as: Is cellphilming a new research method or is it re-packaged participatory video? What theories inform the analysis of cellphilms? What might the significance of frequent advancements in cellphone technology be on cellphilms? How does our existing use of cellphones inform the research process and cellphilm aesthetics? What are the ethical dimensions of cellphilm use, dissemination, and archiving? These questions are taken up from interdisciplinary perspectives by established and new academic contributors from education, Indigenous studies, communication, film and media studies.

Written for teaching professionals, this text helps novice and experienced teachers to reinterpret their working lives. Taking the reader on a personal exploration the text exceeds standard approaches, leading from the personal to the critical.

Women are bombarded with images dictating how we must look, how we should act and even defining who we are. When women present images of themselves, the boundaries fall away giving fascinating leaps of the imagination. From abstract expression to straightforward snapshots, women can use the camera differently. We can go beyond conventional photographic preoccupations with surface and lighting and see the camera as a flexible tool to record, discover and invent."--Publisher's description.

This textbook examines key debates in photographic theory and place them in their social and political context. This second edition includes key concepts, biographies of major thinkers and seminal references, and provides a coherent introduction to the nature of photographic viewing.