Gotowe bibliografie tematyczne / Visual and filmic sociology

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Gotowa bibliografia na temat „Visual and filmic sociology”

Autor: Grafiati

Data publikacji: 11 stycznia 2025

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Artykuły w czasopismach na temat "Visual and filmic sociology"

Kowsar, K. S. Shahanaaz, i Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER". Creativity Studies 14, nr 1 (18.03.2021): 90–98. http://dx.doi.org/10.3846/cs.2021.11556.

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William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major creative restructuring between the original text and the filmic medium. The restructuring of the adaptation involves shift in the medium, genre, context and culture to suit the differences in area and medium. The director of a film needs to be highly creative to adapt a literary text to make a film. Vishal Bhardwaj is one such contemporary prolific film makers who have successfully adapted Shakespearean plays like Othello, Macbeth and Hamlet into Indian cinema. The research article tries to portray the creativity of a director to recreate a new film out of an existing text (filmic adaptation). The article analyses the concept of conceptual blending creativity process and bricolage in highlighting the creativity of Bhardwaj in adapting Hamlet and localizing it in Indian cinema as Haider (2014).

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Matz, Jesse. "Montage Diversity". Representations 161, nr 1 (2023): 41–69. http://dx.doi.org/10.1525/rep.2023.161.3.41.

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Montage diversity divides even as it unites the people it represents, making it a telling register of possibilities for social inclusion in American visual culture. Montage effects in Mr. Smith Goes to Washington (1939) and Pepsi-Cola’s 1969 campaign “You’ve Got a Lot to Live” demonstrate the problems that arise in the combination of social diversity and filmic montage, and, because one was the work of avant-garde film artist Slavko Vorkapich and the other of his son Ed Vorkapich, compose a critical genealogy of montage diversity and its implications for social inclusion.

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McDonough, Tom. "Calling from the Inside: Filmic Topologies of the Everyday". Grey Room 26 (styczeń 2007): 6–29. http://dx.doi.org/10.1162/grey.2007.1.26.6.

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Maitra, Sritama, i Sangeeta Mukherjee. "INDIAN DECENTRINGS OF MACBETH: POSTMODERN CREATIVITY IN FILMIC ADAPTATIONS BY VISHAL BHARDWAJ AND JAYARAJ". Creativity Studies 13, nr 2 (11.12.2020): 585–99. http://dx.doi.org/10.3846/cs.2020.12787.

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The never-ending contemporaneity of William Shakespeare’s Macbeth is established by the experimental adaptations of the play that have transcended time and space. The filmic adaptations, in particular, have recontextualized the original dramatic text in several innovative ways. This paper sets out to analyse from certain postmodern angles the creative and innovative adaptation of a classic literary text from a Scottish setting to two completely different Indian settings (geographically, culturally and politically) and also from 16th century Scotland, United Kingdom to two different time periods in India – Maqbool (director Vishal Bhardwaj, 2003) being a reimagination of Macbeth set in the 21st century underworld of Mumbai, India and Veeram (director Jayaraj, 2016) being an attempt to link the play with 13th century Kerala, India. The transmutations occur at multiple levels and this lends new interpretations to the text in two entirely different temporal and spatial contexts, though both of these adaptations are Indian.

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Sinka, Margit. "When the Son Is Older than the Father: Dominik Graf's 'Denk ich an Deutschland' Television Film". German Politics and Society 26, nr 2 (1.06.2008): 56–75. http://dx.doi.org/10.3167/gps.2008.260204.

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Dominik Graf's Wispern im Berg der Dinge (A Whispering in the Mountain of Things) was the second film televised in the twelve-part Denk ich an Deutschland-documentary series launched on the eve of Germany's eighth Day of Unity (October 1998). Though Graf does not refer directly to Heinrich Heine, he clearly takes Heine's mode of thinking about Germany seriously—that is, he resolutely focuses on ruptures, which characterize Heine and his writings, and on the tensions provoked by the interplay of opposites evident in Heine's poem Nachtgedanken (1843), the source of the Denk ich an Deutschland-phrase. In Graf's documentary, Heine's ruptures turn into ruptures between his father's excessively silent war generation and his own unanchored post 1968 generation. The tensions, on the other hand, are evoked by the filmic medium—in particular, between verbal and iconic images. Thinking about film when he thinks about Germany, Graf examines his deceased father's many roles in the West German films of the 1950s and 1960s—roles that had turned him into the representative of the damaged war generation. Faulting the purely verbal in a medium intended to give concrete, visual form to reality, Graf attempts to harness the powers of both verbal and iconic images in the service of identity formation, yet grants the edge to the iconic, as well as to the fictional rather than the factual.

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Lennon, J. John. "Dark tourism sites: visualization, evidence and visitation". Worldwide Hospitality and Tourism Themes 9, nr 2 (10.04.2017): 216–27. http://dx.doi.org/10.1108/whatt-09-2016-0042.

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Purpose This paper aims to consider dark tourism sites and their pivotal role as evidence of atrocity and evil. How they are interpreted and the role of visual imagery, most particularly photography, are considered from the perspective of the locations as heritage and learning sites. The complex arguments in relation to conservation and maintenance are juxtaposed with the behaviour of visitors in recording and uploading imagery of such material. This phenomenon allows us to consider the enormity of witnessing such events and viewing such sites as part of contemporary tourist behaviour. Design/methodology/approach The approach utilizes contemporary literature from tourism, sociology and film studies and uses secondary sources to highlight key sites that illustrate discursive elements of the paper. Findings This appeal and appetite for photographic and filmic record by visitors to such dark sites illustrates not only an inherent fascination but also a series of dark and recurring themes. However, it is also notable that in some locations, ideological selectivity in development is present and evidence, record and history are challenged. The cases of Cambodia and Russia and elements of their tragic pasts are used to illustrate why key heritage sites are developed as attractions or are ignored as evidential sites. For these reasons, this area still merits evaluation and discussion in tourism. Originality/value The area of dark tourism has been the focus of researchers for over a decade. However, the areas of selectivity in development, ideological impact on content and the issues related to visualization have not as yet been fully explored. This paper begins to explore issues related to visualization and evidence and how it related to these dark tourism sites.

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Kayır, Oğuz. "Reconfiguring Senegalese filmmakers as Griots: Identity, migration and authorship practice". International Journal of Francophone Studies 25, nr 1 (1.09.2022): 119–39. http://dx.doi.org/10.1386/ijfs_00047_1.

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This article aims to designate the notion of ‘Griot’ ‐ the oral transmitter of history in West African cultures to the eclectic filmmakers from the post-independence period of Francophone Senegal who utilized film as an instrument to reassemble their nation’s lost image and carve an independent national identity that seeks liberation from the remnants of French imperial rule. Figuratively performing as Griots in the postcolonial film corpus, directors Ousmane Sembéne, Djibril Diop Mambéty and Mati Diop fabricated an original filmic language that represents the cultural milieu of Senegal after the French colonialism. In these directorial endeavours, the incorporation of narration elements plays a pivotal role in simultaneously manufacturing the agencies of Senegalese people and accelerating the continuum of decolonization in the country’s visual domain. Including the historical framework of Senegal’s cinema and illustrating the analogy between Griots and these filmmakers, this research will take a closer look at the corresponding postcolonial narratives of Ousmane Sembéne’s La Noire de… (1966), Djibril Diop Mambéty’s Touki Bouki (1973) and Mati Diop’s Atlantics (2019) in an effort to unravel their tumultuous identity politics, critiques of (neo)colonialism and filmmakers’ role as national raconteurs.

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Csesznek, Codrina. "PHOTOVOICE AS A TOOL FOR INCREASING AWARENESS AND PARTICIPATION IN LOCAL-BASED ENVIRONMENTAL EDUCATION". SERIES VII - SOCIAL SCIENCES AND LAW 14(63), nr 1 (26.06.2021): 55–66. http://dx.doi.org/10.31926/but.ssl.2021.14.63.1.6.

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Photovoice is a participatory technique used in sociology for presenting research results in form of visual stories. It can be a valuable tool to increase awareness and participation of citizens in local-based processes related to environmental education. This paper highlights some advantages of using photovoice as a visual participatory technique in improving environmental education, exploring some evidences from recent literature and presenting a case study conducted in Brasov, Romania. The case study is an example of how photovoice can be successfully used in working with social science students, in order to improve their professional skills for promoting local-based environmental education initiatives.

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MACKINTOSH, JONATHAN D. "Bruce Lee: A visual poetics of postwar Japanese manliness". Modern Asian Studies 48, nr 6 (23.10.2013): 1477–518. http://dx.doi.org/10.1017/s0026749x13000437.

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AbstractFist of Fury, starring Bruce Lee, debuted in Japan in 1974. Whilst its critical reception reflected its box-office success, a complex emotional reaction is nevertheless detectable towards the film's unsympathetic portrayal of the Japanese. This paper will explore this reaction and suggest that a post-colonial angst was piqued, one that betrayed fundamental shifts in current racial, erotic, cultural, moral, and historical understandings of Japanese manliness. At one level, the response to Lee is a hermeneutic cue into the manifold ways that this angst was constructed through contesting understandings of an emergent China and unresolved memories concerning failed imperial Japanese adventure. At another level, the phenomenon of Lee's Japanese reception points to longer-term shifts in the visual-cultural representation of masculinity: vulnerability as articulated in the cinema's ‘new man’, male nudity as ‘discovered’ in women's magazines, and most potently, modern Japanese manliness to challenge American neo-colonial hegemony. It is this panorama of masculinity that this paper seeks to open through an inter-disciplinary survey of a variety of media—film, pulp fiction, women's magazines, andhomoporn; a panorama into which Bruce Lee exploded on screen, alerting us to the images and contradictory aspirations that script a visual poetry of Japanese manliness.

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Lievois, Katrien, i Aline Remael. "Audio-describing visual filmic allusions". Perspectives 25, nr 2 (29.08.2016): 323–39. http://dx.doi.org/10.1080/0907676x.2016.1213303.

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Rozprawy doktorskie na temat "Visual and filmic sociology"

SALVADOR, OTTAVIA. "Deaths and migration. An ethnographic, visual, filmic research". Doctoral thesis, Università degli studi di Genova, 2018. http://hdl.handle.net/11567/929109.

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Cuny, Guillaume. "Le choix des autres : construction et appropriation de l'orientation de jeunes femmes scolarisées en Bac Pro accompagnement, soin, service à la personne". Electronic Thesis or Diss., université Paris-Saclay, 2024. http://www.theses.fr/2024UPASU008.

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Alors que la plupart des orientations dans la voie professionnelle en France sont des orientations contraintes, le Bac Pro ASSP semble faire figure d'exception. Cette filière attire de nombreux candidats et l'intégralité des élèves dont nous avons étudié le parcours dans cette recherche l'a choisie en tant que premier vœu en fin de 3ème. Lors des entretiens menés avec les élèves, ces dernières revendiquent un rapport vocationnel à cette orientation, expliquant qu'elles ont toujours aimé s'occuper des autres dans la sphère domestique et qu'elles ont développé par ce biais des dispositions à la fois techniques et morales propices au travail de soin. En menant des observations en classe et sur les lieux de stage et des d'entretiens avec des élèves (entretiens répétés à différents moments de leur scolarité), mais aussi des enseignants et des personnels administratifs, nous avons cherché à analyser comment cette orientation qui est marquée par de forts déterminismes sociaux peut néanmoins être appropriée par les élèves et quel rôle jouent l'institution scolaire et ses acteurs dans cette appropriation. La thèse étant réalisée en sociologie des relations formation/emploi et en sociologie visuelle et filmique, elle est complétée par un film documentaire et d'une réflexion sur l'apport des images dans les recherches en sciences humaines et sociales
While most orientations into vocational education are constrained in France, the vocational baccalaureate Accompaniment, care, services to the person seems to be an exception. This course attracts many candidates and all the students whose school career we studied in this research chose it as their first wish at the start of high school. During the interviews with the students, they claimed a vocational relationship to this orientation, explaining that they had always enjoyed caring for others in the domestic sphere and that it had allowed them to develop both technical and moral dispositions conducive to care work. By conducting observations in classrooms and in places of internship, as well as interviews with students (that took place at different times of their schooling), but also teachers and administrative staff, we sought to analyse how this orientation, marked by strong social determinism, can nevertheless be appropriated by students. We also seeked to analyse what role the school institution and its actors play in this appropriation. Since the thesis is carried out in sociology of training/employment relations and in visual and filmic sociology, the manuscript is completed by a documentary film and a reflection on the contribution of images to research in humanities and social sciences

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Geller, Peter G. (Peter Geoffrey) Carleton University Dissertation History. "Northern exposures; photographic and filmic representations of the Canadian North, 1920-1945". Ottawa, 1995.

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Wood, Dennis. "Imagineering the community: The vagrant spaces of the malls, enclave estates, the filmic and the televisual". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2001. https://ro.ecu.edu.au/theses/1029.

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The idea of 'community' is an all pervasive and persuasive notion within society. But it is an elastic concept used by diverse groups and institutions to rally people to a cause or to reassure the public in times of (perceived) calamity. Of late the various forms of the media and certain elements of society have been focussing their attention on the 'breakdown of community' values citing the (perceived) rise in crime, the (supposed) fragmentation of the family and the (hypothetical) loss of respect for authority and authority figures as contributing to an ailing communal sensibility. However, as Anderson (1983) has argued in his discussion on the rise of nationalism the 'community' is always an imagined entity. This study investigates this concept of the imagined community and looks at how this notion is manifested (and sold to the public) in the 'real' sites of the contemporary shopping malls and the ever more visible master planned communities. These sites present nostalgic impulses of a community which is in harmony with itself, specifically drawing upon the concert of no idealised 'village' ethos which speaks of a more simple life enhanced by an intimate relationship to a restorative 'natural' world. The study also seeks to discoverer how communities are represented in the 'imagined' worlds of the pictorial, filmic and televisual texts. It is suggested that these sites/sights also offer versions of a lifestyle which, in essence, sells a concept of a commendable community suggested by the mall owners/operators and the enclave estate entrepreneurs. To assist in this investigation the Disneyesque concept of 'imagineering' will he remotivated and will he linked to what McCannell (1976) called 'touristic consciousness’. The former suggests that community is found in the conjoining of the perceptual and the conceptual - the real and imagined - or what Soja calls the first and second spaces. The Iatter informs how the sites/sights for community are seen and read. Soja suggest that community is found in the third spaces or what Lefebvre calls the ‘lived’ space. However, it will be argued that there is a fourth space of 'livable' community that is inherently present in the sites/sights under discussion. This fourthspace is what can be called the vagrant space because it is both present as a fleeting spatiality and absented by the conjoining of first and second spaces. It also acts as a Foucauldian heterotopic space which when present in its absence informs notions of a participatory, coherent community, something which is seen as lacking in the 'lived' community. Thus the vagrant space suggests an 'otherness' and 'difference' within the homogeneous sameness and familiarity of the community of the third space.

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Rowbury, Claire S. J. "Parenting and visual disability : a study of mothers and infants with differing combinations of visual status". Thesis, University of Nottingham, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334851.

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Campion, Britta Maree Art College of Fine Arts UNSW. "Photography as a method of visual sociology: An investigation of the potential of still photography as a method of visual sociology". Publisher:University of New South Wales. Art, 2008. http://handle.unsw.edu.au/1959.4/42059.

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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.

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Payling, David. "Visual music composition with electronic sound and video". Thesis, Staffordshire University, 2014. http://eprints.staffs.ac.uk/2047/.

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This research project investigated techniques for composing visual music and achieving balance in the relationship between sound and image. It comprises this thesis and a portfolio of compositions. The investigation began with an interest in the relationships between colour and sound and later expanded to include form and motion, the remaining factors of Thomas Wilfred’s lumia (1947). Working with a cohesive theme, such as lumia, proved to be an effective way of creating a coherent aesthetic in portfolio pieces. Other themes were therefore investigated including composing with visual and audio materials recorded from the single source of Thailand, the wave phenomena of refraction and diffraction and a filmed natural sunset interpreted in electroacoustic music. Two distinct compositional techniques were used, material transference, where qualities were transferred between sound and image, and compositional thinking, which assisted in creating audio-visual compositions that possessed musical qualities. Material transference proved to be the most productive technique during composing and it was discovered that effectuating it algorithmically created a strong bond between sound and image. Compositional thinking assisted in creating the form of the portfolio pieces and was found to apply to both video and music. Compositional thinking was found to be useful at the macro level, where structural form was designed, and material transference worked at a finer micro level, transferring individual qualities between sound and video objects.

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Bates, Charlotte. "Vital bodies : a visual sociology of health and illness in everyday life". Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/6373/.

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This thesis addresses theoretical and methodological concerns to embody sociology. It offers an account of the body, health and illness in everyday life that uses a sensorially attentive research practice to take the body seriously and make it audibly, visibly and viscerally present. The thesis is based on empirical research conducted over a year using a multi-method approach to unlock everyday bodily experiences. Thirteen participants aged between twenty-three and forty-three were interviewed about their experiences of living with a long-term physical or mental health condition (asthma, bi-polar disorder, chronic pain, depression, type 1 diabetes, epilepsy, joint hypermobility syndrome, muscular dystrophy, and rheumatoid arthritis) and asked to make a video diary and/or keep a journal to show and tell about their body and their condition. In addition Polaroids and hand-drawn questionnaires were used to add dimensionality. The accounts that were made are presented in this written thesis and in the film that accompanies this text, with the aim of conveying a sociological analysis of illness that keeps the vitality of bodies alive. In doing so, the thesis offers an account of illness that is not based on anguish, isolation and powerlessness but on the embodied activity of living.

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Nixon, Sean. "Hard looks : masculinities, the visual and practices of consumption in the 1980s". Thesis, Open University, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251482.

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Wecker, Danièle Anne Irène. "What do you mean you lost the past? : agency, expression and spectacle in amateur filmmaking". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC135.

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La thèse ci-après présente une étude de films amateurs, fournis par le Centre National d'Audiovisuel au Luxembourg, dit CNA. Elle examine certaines notions de sens et d’interprétation en l’absence de métadonnées et du contexte d'origine. Plutôt que de prendre le film amateur comme genre ou pratique à part, cette étude porte sur le seul langage cinématographique. La première partie de ce travail identifie ainsi des modes filmiques hautement différenciés et interprétés à partir des images. Sans contexte original, ces films perdent leur principale source de signification, à savoir les commentaires fournis par les membres de la famille. En effet, la projection du film dans le cercle familial interpelle les souvenirs et donne lieu à l’explication des évènements reproduits. La présente thèse examine ces images comme vestiges d'une narration visuelle plutôt qu'en termes de récit de souvenirs. Elle adopte le point de départ très simple que ce qui est filmé était important pour les cinéastes. De plus, elle examine comment le langage filmique peut servir comme illustration des intentions et motivations, à la fois volontaires et involontaires. Y suit l’examen des différents styles employés dans les films amateurs. J’attire l’attention sur la codification culturelle sous-jacente à la pratique de représentation dans le privé, qui prend la langue filmique comme moyen d'auto-narration. La deuxième partie aborde les films amateurs comme moyen d’expression primitif d’une tentative de signification qui implique le chercheur et sa propre expérience. La projection des films est constitutive de ce processus d'entrée en signification
The following thesis presents an examination of privately produced amateur films taken from the Amateur Film Archive in the Centre National d’Audiovisuel in Luxembourg. It analyzes how amateur films present a filmic world and examines specific notions of meaning generation without meta-data and original context. Rather than take amateur film as a homogenous genre or practice, this study concentrates on film language. The first part of the following two-fold engagement with these filmic worlds thus identifies the highly differentiated filmic modes that can be read from theimages. A filmic mode is related to as a concomitance of style and choice in subjectmatter. Without original context, these films lose their most important means ofmeaning generation, namely the recollective narratives that are constructed by theintended audience in the viewing situation. This work takes these images as remnantsof a visual narration rather than in terms of recollective narratives. It operates from the very simple basis that how the camera was used can serve as illustration of underlying intentions and motivations—both intended and inadvertent. The first partof this study then focuses on the diversification within the images and reads concomitant cultural codifications that structure representational productions in the private and also analyzes film language as means of self-narration. The second part of this two-fold engagement explores filmic language in terms of a visualization of primordial signifying expression coming-into-being. This engagement extends to include the researcher and his/her own background as co-constitutive part of this process of primordial meaning

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Książki na temat "Visual and filmic sociology"

Sebag, Joyce, i Jean-Pierre Durand. Filmic Sociology. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6.

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Dwyer, Rachel. Cinema India: The visual culture of Hindi film. New Delhi: Oxford University Press, 2002.

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Dwyer, Rachel. Cinema India: The visual culture of Hindi film. London: Reaktion Books, 2002.

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Divia, Patel, red. Cinema India: The visual culture of Hindi film. New Brunswick, N.J: Rutgers University Press, 2002.

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Zuev, Dennis, i Gary Bratchford. Visual Sociology. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-54510-9.

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Harper, Douglas. Visual Sociology. Wyd. 2. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003251835.

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Lucien, Taylor, red. Visualizing theory: Selected essays from V.A.R., 1990-1994. New York: Routledge, 1994.

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Marcus, Banks, i Morphy Howard, red. Rethinking visual anthropology. New Haven: Yale University Press, 1997.

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Marcus, Banks, i Morphy Howard, red. Rethinking visual anthropology. New Haven: Yale University Press, 1999.

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Diana, Papademas, red. Visual sociology: Teaching with film/video, photography, and visual media. Wyd. 5. Washington, DC: American Sociological Association, 2002.

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Części książek na temat "Visual and filmic sociology"

Desille, Amandine, i Karolina Nikielska-Sekula. "Introduction". W IMISCOE Research Series, 1–27. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-67608-7_1.

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AbstractA significant effort in theorising and conceptualising the visual has been made within various disciplines. To mention only a few, Howard Becker (Art as collective action. Am Sociol Rev 767–776, 1974) in visual sociology, Lucien Taylor (Visualising theory. Routledge, 1994), Marcus Banks and Howard Morphy ((eds): Rethinking visual anthropology. Yale University Press, London, 1999) and Jay Ruby (Picturing culture: explorations of film and anthropology. University of Chicago Press, Chicago, 2000) in visual anthropology, Chris Jenk ((ed): Visual culture. Routledge, 1995) in cultural studies, Gillian Rose (Visual methodologies: an introduction to the interpretation of visual methods. Sage, 2001) in geography and Sarah Pink (Doing visual ethnography. Sage, London, 2001) in visual ethnography, all produced fundamental works focusing on the visual in social sciences. This book, however, without diminishing the disciplinary work within the subject, proposes to approach visual methodologies in the specific context of a field of study, adopting an interdisciplinary approach that brings together geography, sociology, anthropology and communication studies. As Adrian Favell (Rebooting migration theory: interdisciplinarity, globality and postdisciplinarity in migration studies. In: Brettell C, Hollifield J (eds) Migration theory: talking across disciplines. Routledge, pp 259–278, 2007, p. 1988) has suggested: “On the face of it, there could hardly be a topic in the contemporary social sciences more naturally ripe for interdisciplinary thinking than migration studies.” In this piece we will attempt to explain why the adoption of visual methodologies in the field of migration studies is of particular interest.

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Sebag, Joyce, i Jean-Pierre Durand. "Introduction". W Filmic Sociology, 1–4. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6_1.

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Sebag, Joyce, i Jean-Pierre Durand. "The Approach of Filmic Sociology". W Filmic Sociology, 5–30. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6_2.

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Sebag, Joyce, i Jean-Pierre Durand. "From Ethnologist Photography to Filmic Sociology". W Filmic Sociology, 31–82. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6_3.

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Sebag, Joyce, i Jean-Pierre Durand. "Conclusion". W Filmic Sociology, 203–6. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6_7.

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Sebag, Joyce, i Jean-Pierre Durand. "Showing the Invisible in the Sociological Documentary". W Filmic Sociology, 165–202. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6_6.

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Sebag, Joyce, i Jean-Pierre Durand. "Cinema Enhances Sociological Questions". W Filmic Sociology, 139–63. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6_5.

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Sebag, Joyce, i Jean-Pierre Durand. "Cinema and Sociology: A Promising Hybridization". W Filmic Sociology, 83–138. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-33696-6_4.

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Cambre, Carolina. "Visual Sociology". W The Palgrave Handbook of Image Studies, 735–57. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71830-5_45.

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Harper, Douglas. "Visual ethnography". W Visual Sociology, 50–95. Wyd. 2. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003251835-3.

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Streszczenia konferencji na temat "Visual and filmic sociology"

Popova, Anna. "Understanding of Visual Sociology as an Independent Discipline". W Proceedings of the 4th International Conference on Contemporary Education, Social Sciences and Humanities (ICCESSH 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/iccessh-19.2019.455.

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Wirasari, Ira, i Eka Darma Sinta. "The Visual Analysis and Perception’s of Social Media Users in Indonesia to Telkomsel Advertisement". W The 2nd International Conference on Sociology Education. SCITEPRESS - Science and Technology Publications, 2017. http://dx.doi.org/10.5220/0007105507580762.

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Regec, Vojtech, i Lucia Pastierikova. "Impaired Visual Perception and Selected Aspects of e-Accessibility at Universities and Colleges". W International Conference on Political Science, International Relations and Sociology. Cognitive-crcs, 2016. http://dx.doi.org/10.15405/epsbs.2016.05.03.1.

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Regec, Vojtech. "THE DEVELOPMENT OF E-ACCESSIBILITY IN SLOVAK PUBLIC ADMINISTRATION FOR PERSONS WITH VISUAL IMPAIRMENTS". W SGEM 2014 Scientific SubConference on PSYCHOLOGY AND PSYCHIATRY, SOCIOLOGY AND HEALTHCARE, EDUCATION. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b12/s2.117.

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Finkova, Dita. "INSTRUCTOR OF SPATIAL ORIENTATION AS ONE OF THE DETERMINANTS OF SUCCESSFUL INCLUSION OF PEOPLE WITH VISUAL IMPAIRMENT IN THE CZECH REPUBLIC". W SGEM 2014 Scientific SubConference on PSYCHOLOGY AND PSYCHIATRY, SOCIOLOGY AND HEALTHCARE, EDUCATION. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b13/s3.057.

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Makar, Mariia, i Viktor Savka. "Social constructions in Ukrposhta stamps during the Russian-Ukrainian war". W Sociology – Social Work and Social Welfare: Regulation of Social Problems. Видавець ФОП Марченко Т.В., 2023. http://dx.doi.org/10.23939/sosrsw2023.060.

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Background: The period of the Russo-Ukrainian war is rich in visual symbols. We can observe the emergence and creation of new symbols that contain important cultural and social codes. People create one social construct and reject another, forming their opinion about the war and their participation in it, demonstrating the state of society. Purpose: To determine citizens' perceptions and how they form a social construct during the Russian-Ukrainian war, a study of Ukraine Post stamps (visual symbols) can be conducted. Methods: Through the paradigm of social constructivism, we examine this research. We obtained empirical data through quantitative method using content analysis. Since our focus is on how Ukrainians construct a social construct, we chose to analyze the arguments presented in comments regarding the stamps that Ukrposhta submitted for the competition held from March 8 to March 10, 2022 (Ескізи поштових марок, 2022). Results: Analyzing the comments on the stamps, we obtained two consecutive branches: 1. Commentators' behavior. In addition to likes, 10.6% of the voters left comments, 8.5% followed the contest rules, and 0.5% argued their choice. 2. Formation of a social construct. Commentators form a social construct based on the following parameters and attempts at social encoding: Textual symbolism (condemnation of profanity, praise for the absence of Russian profanity, desire for profanity, condemnation of surzhyk). National and military symbols (support for modifications with the trident, condemnation of modifications with the trident, absence of identification of profanity in the trident, support for identification of the Ukrainian coat of arms, condemnation of its presence, support for identification of Russian colors, condemnation of the Russian tricolor on Ukrainian stamps, support for the expression of blue-yellow colors. Warrior symbol (military) (support for the presence of the Ukrainian military, condemnation of the warrior symbol). Conclusion: Summarizing the views of commentators, we see citizens of Ukraine who recognize and respect Ukrainian culture, identify themselves as Ukrainians, clearly distinguish themselves from the occupying country, strive to interact with friendly countries, and understand the strength of their own army. This scientific work will be relevant for the study of patriotism, nationalism, building a civil state, propaganda, and counter-propaganda, as visual symbols are not only a reflection of society but also a tool for influencing it. Keywords: social construct, perceptions, visual symbols, citizens, Russo-Ukrainian War.

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Salter, Chris, Timothy Thomasson i Pierrick Uro. "Animate: A Theatrical Exploration of Climate Transformation through the Medium of Extended Reality (XR)". W 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-83-full-salter-et-al-animate.

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This paper presents a critical account of the development of a large-scale theater work using emerging Extended Reality (XR) technologies. Detailing three aspects of the project and set against theoretical frameworks from STS (Science and Technology Studies) and the sociology of innovation around ideas of the future embedded in technologies, we examine the conceptual, aesthetic, organizational and social-technical underpinnings of the project. The paper’s goal is thus to give a sense of the challenges and opportunities in the emerging integration of XR into new artistic morphologies that hybridize the visual-performing-media arts through new technological advances.

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Bohrmann, Dominique, Moritz Gobbert, Ericson Hoelzchen, Ditty Mathew, Ralph Bergmann, Thomas Ellwart, Ingo Timm i Benjamin Weyers. "FlexiTeams – An Interactive Visual Representation of AI-based Knowledge to Reorganize Operational Teams in Crises". W AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004192.

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Crises, such as the COVID-19 pandemic, pose unprecedented challenges for governmental or healthcare organizations as well as for the entire industry and the service sector. For instance, shifts in business areas due to increased infection control regulations led to overburdened or underchallenged units within the organizations. Thus, the flexible and highly dynamic adaptation of work processes and team organizations to the changed conditions are essential for maintaining the economic and social infrastructure. The requirements for such a reorganization are constantly changing due to the parallel process of gaining knowledge about the actual risk factors in the spread of the pandemic and require an agile reorientation, which is associated with great effort and uncertainty.For this reason, we present the FlexiTeams framework that supports decision makers to manage staff allocation and workflow organization in the context of such time-sensitive situations using conversational artificial intelligence and agent-based simulation. Agent-based modeling and simulation are established in many disciplines as a new tool for the analysis of complex systems. In social simulation, agent-based models are often used to analyze emergent effects e.g., as phenomena of social contagion. In cognitive social simulation, mechanisms of sociology and psychology are combined to generate cognitive decision-making behavior within an agent as well as group dynamic behavior between agents. This allows the study of complex socio-digital systems in which humans and (semi-)autonomous information systems cooperate in knowledge-intensive processes. However, in a crisis situation such as the COVID-19 pandemic or severe weather disasters, it is necessary not only to capture specifications of a team or to evaluate their efficiency, it is rather important to react to current situations. Indeed, it is of special interest to assemble the available work force accordingly, which may be seconded from other tasks. The flexible allocation of resources depending on a current situation is an important field of research in Distributed Artificial Intelligence (DAI). DAI deals with systems of (partially) autonomous decision makers, so-called software agents, whose behavior are largely determined by situational decision-making, negotiation and coordination during the runtime of the system. In addition to the agent-based approach, the comprehensive knowledge representation of process-oriented case-based reasoning (POCBR) is well suited for the modeling and processing of experiential knowledge about team constellations and work processes with the aim to make suggestions for adjustments in the sense of reorganizations.One major success factor to benefit in time-critical situations from the provided guidance and suggestions is to keep the human in the loop regarding both, the AI’s decisions and its simulation’s results. Thus, one part of the framework is to design a suitable interface to enable users to understand and revise the AI’s results. In this paper, we introduce the general framework, discuss its novelty and present an initial demo prototype showcasing some UI design concepts relevant to this context. For instance, an overarching dashboard is designed to represent resources, profiles, and key performance indicators (KPIs) comprising economic, social, and health status.

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Manuel Figueiredo, Carlos, Ana Rafaela Diogo i Joana André Leite. "Adapting Jane Austen to the screen: fashion and costume in Autumn de Wilde’s movie "Emma"". W 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001538.

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The visual and behavioral codes prevalent in society at any given moment are part of its social conventions and constitute a framework that rules everyone´s image, dress and the attitudes that society not only tolerates but expects from them. However, it is unquestionable that despite the rigidity and formality imposed on personal appearance and manners, it is still possible to find some room to play with the possibilities afforded to people, albeit conditioned by their social status, so as to manage to express their inner self, mood, and even outlook on life, at any point in time. What is more, it is possible for an individual inserted in such a society to become the center around which everything revolves and trace a path to success, without necessarily trespassing any of the red lines drawn by society's norms. In her novels, Jane Austen chose as protagonists middle to upper class young women that stand out by managing to, in the limited scope of action afforded to them, work society in their favour so as to achieve their perceived notions of fulfillment and personal happiness. Based on one of Austen's novels Emma, and its 2020 movie adaptation directed by Autumn de Wilde, we will assess how Alexandra Byrne’s costumes work in relation to the aesthetics of Emma’s world and surroundings. As well as investigate how they showcase, are impacted and can even be read as symbolic representations of the course of her life, evolution and relationships in this movie, which is considered to be particularly faithful to the novel.Keeping this in mind, we will analyse several scenes that are key both in terms of the plot and the costumes of the main character—Emma. This analysis will consider filmic and design notions of characters, narrative and space, as well as their construction and representation. It will focus on questions of storytelling regarding how the viewer is informed about Emma’s personality and mood, as well as capable of feeling her emotions, in the key events of the plot. As well as try to answer why and how Emma and her costumes remain the main focus in almost every shot of the movie, and how components such as the fictional space, its framing and composition are always in relation and dependent on her and her portrayal.Despite this movie being Autumn de Wilde’s debut, her mastery of notions of visual hierarchies, aesthetics and cinematic techniques that keep Emma highlighted and the focus of the action at all times, in the foreground of the shot, is undeniable. This translates to impeccably shot spaces that are completely in tune with the costumes, providing a sense of ease or contrast to the characters' relation to the space, further highlighting the subjects in the main action.In such an aesthetically developed piece, it is then also unavoidable that Emma’s every interaction and the development of her relationships will have a direct impact on her inner image, and therefore her outer image, affecting her relation and attachments to her costumes.

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Regis Brasil, Priscilla. "Film as part of the thesis and mounting as a method for the social sciences". W LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.112.

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My argument is that the history of space can be built by montage. I'm a documentary filmmaker and editor. I understand film as a support for writing in fragments. I think that the filmic form, capable of carrying movements and times, testimonies and texts, past and present, is a suitable support for the history of space. There is a visual form of knowledge and a wisdom of the gaze, as in Warburg's Atlas, largely disregarded by the academy as a way of producing knowledge. If montage is a polyphonic device that uses forgotten remains and heterogeneous narrations to dismantle the official story and reassemble another story from its critical constellations, no instrument seems to me more adequate than a film to execute it. Through the search for other ways of narrating the urban experience, following Benjamin from the rags and the residues, operating knowledge from the anarchic potentialities of the fragment and the problematization through doubt, through the incomplete and through the unfinished. For Didi-Huberman, the empirical and creative exercise proposed by Benjamin is capable of bringing out other possibilities from the dismantling of certainties. It allows us to think through the differences in the gaps left between the fragments. The montage allows for the simultaneity of times and the emergence of symptoms, the revelation of failures, conflicts, heterogeneity, in perforating tradition and colliding with the text. If montage serves all this, it also serves the decolonization of perspectives and methodologies, serves to narrate the history of subalterns and the hidden histories of empires. It also can be used to articulate memory, narration and history in the attempt to grasp reality. I propose the use of cinematographic montage as a method of knowledge production, as an important part of the research and whose result will be a constitutive and inseparable part of the thesis. Film as a method for the social sciences. In addition to assembling the fragments, the author's narrative interference is a critical point of the proposed experience. Delivering an account of the position from which one narrates is, therefore, fundamental. The narration does not impose itself as a voice of God over the material, as it neither affirms nor has certainties. It is organized on the incompleteness of the process. The narration sheds light on the background of the painting, on what History disregarded, on what was considered disposable or unimportant by the discourse of the dominator. It is thinking through differences and from the cracks of what was enunciated by the authority. It is thinking from accidents and ghosts.I propose the integration of the result of film montage experience in the general organization of the thesis, so that the chapters can vary between the two supports, text and film, being organized according to what the material itself indicates.

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