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  • Bradley L. Garrett & Harriet Hawkins - Creative Video Ethnographies

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    Bradley L. Garrett & Harriet Hawkins, 2014, Creative Video Ethnographies, Video Methods: Social Science Research in Motion (Routledge Advances in Research Methods).

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    Bradley L. Garrett & Harriet Hawkins, 2014, Creative Video Ethnographies, Video Methods: Social Science Research in Motion (Routledge Advances in Research Methods).

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    5K Ansichten16 Seiten

    Bradley L. Garrett & Harriet Hawkins - Creative Video Ethnographies

    Hochgeladen von

    FOIRequest
    Bradley L. Garrett & Harriet Hawkins, 2014, Creative Video Ethnographies, Video Methods: Social Science Research in Motion (Routledge Advances in Research Methods).

    Copyright:

    © All Rights Reserved
    Als PDF herunterladen oder online auf Scribd lesen
    Markieren Sie unangemessene Inhalte
    von 16
    SE ADVANCES IN RESEARCH METHODS ‘The Motval Construction of Statistics and Sactety Pest i o CN ee See er rch Moho [orem ern ne eee Un eee ee Coc oe Lee eer ne eee The Emotional Politics of Research Collaboration ‘The Social Poites of Research Collaboration een eee dl Mahed Reece ener NUTT sa83e Sitaram ariel Video Methods Perey Charlotte Bates Video Methods This iaeiscipinary eollion provides 2 set of innovative and inventive ppronces ote wt of ico a esentch method. Baling on the develop ent of visa methods aoe the rca scene, highligh «range of Posie for making st working with video dats. The callecton show foe diften video mesod nelading vdeo dari, video go-along, i= Taps video, mobile deviesmatrange vdeo recording, vdeo ethnography, fn ehnogropic documentary. Hach method is preseted though = ese ‘iu, sboving how i canbe wed in practi The store ofr pragmatic fmce and cose peace sus, inudlng equipment techniques snd Skil ais ad pesetion. Tey seo show now vdeo methods can be {ed oa ange ifteent ones ain tations on cyl a schoo, ‘utdoor, ad in mseumwo lnveigee words tat ae vise ail, ‘sland inmotion. Indoing ro, ey laminate the heretical posi ‘is tha video methods of for researching the body, deatry,everaay Ife le, tine, and space ‘Choate Rats ies Poot Research Astin the Sociology Depart tment Colsmihs, Univesity of Londoa, whee she aso gained her PHD invinal scans by aaa That Sure ie Po gn Onesoni ts Alton & Pe Sai 4 tote a Peet, Sispecer cite ee ct Sentero SSS Seeaeees Sabra Pree ee ‘Rp tte ant ese on ree pon =a thes georae aha "Ge asta nm ey sub ings eters ee See Saas Sovbsacnan “Drain Berta sc Contents Lit of Figures Introducsion: Potting Things in Motion 1 Insite Encounters: Making Video Disses about Embodied Every Life 2 Amospheres of Arivl/Departure and Muli-Aagle Video ‘Recording: Recon fom St Pancras and Gave da Nord 3 The Motil Life of Szcens: Digital Imaging on School Journey in Helis 4 Wiezesng Craft Emloyng Video Ethnography to Aten to (he More'Than-fuman Caf Paces of Taxidermy '5 Close Eocounters: Using Mobile Video Ethnography ‘0 Understand Huma Animal Relations 6 Jame, Seater lars and Other Palle nage: Using “Time Laae Video in Cycling Research 7. Greate Video Ethnowaphies Video Methodologies of Ubae Exploration 0 » n 9s m Wi Contents Working wih Sound ie Vide: Prodocing an Experimental Documentary about Schoo! Space 9) “Everything Is Going Oa atthe Same Time"; The Place ‘of Video in Soil Revere Insaaons 10 Lie Of eid Comidrtions fra Mali-Sied, Pablc Ethnographic im Alurwors Video Methods beyond Representation: ‘Expeienting with Mulimodal,Seoous Acre Intent i the 24st Centary Conribatore Indes 165 187 209 20 2a 245 Figures u 12 24 22 23 “I don resly checkin the middle of he ight when hypo, because wy elie wuld | wake up inthe idle ofthe ig other than bec my supa levels dropped ets Rnd out” fncgen, Video Dist) “There's something abut the sound of cole maker, ixjoet makes yu fe ike yur ay i off ta cealy food war!” (Mesa, Video Diary “inks ace aly beaut always thought stars were prety gra, ever since Twas ile i.” (dnwea, Video Dia) ‘Man with suitcase sanding looking at departures sign ‘Theman ered in black holding the wheled sutease vas dhe 9 syne the apf vide tren From there, e second even visible in thre ofthe vdeo reams ‘was Used © sychveis all ou video seas (Oxenaion in arivigin Se Pancras (eal rom SePanerasmult-anpe ng). Passengers river he ‘iph ofthe pla om he far gh ofthe imagebeneath ‘henge tht i purl vb ere. To thet el of ‘he mage the sais that partly obscures pasenges views cn be seen. “Acces Ite, Thetoplftimage shows the platform sign saying Acces ner’ (Access Forbiden). The botom right image shows a growing cowed of people ‘who have topped tex wha going on anor wating to acces the pair. The op rhe mage show = young couple ffecnately paying and ocasonally “embracing 8 a 7 Creative Video Ethnographies Video Methodologies of Urban Exploration Bradley L. Garrett and Harriet Hawkins Five of ws are sanding under the Forth Rai Bridge. Were in North Queens fery aque lie cown nent Edinburg, loking up lors the paki lot at ‘he omer tower foundation holding the ocpeous sel sous alse (Our mission tonights oclimb the bridge, rosing from north oso over the tte rovers and the Firth of Forth. The weather doce look ‘promising, but we've driven over 40D mls ra London to ge ete and a0 ‘ne wants to tr arcund. Helen, James, Maze, Moves and I are collating footage for Crack the Surface it he Bal isalent of a collaborative video espe we sated ‘in 2010. Wee shooting on Digal Single Lens Reflex (DSLR) camera ad sing two lenis 2 38 my lens anda 24 mem, Each lene vero fren, frame, ilfeene deptve-ld and ifn fo. Adal, we sre wea ing ead- and chesemounted cxmrat for Pont of View (POV) shor Keep. ‘nin mind that vdeo a ch aboot sound as vss we also have igh ‘usly audio recorders inoue bags and are strapped up with lapel micro™ ‘hones threaded through ou jackets. We ae alo wesringhesdponts to ‘moniter the aod fel ke hve ‘Moss tars tous nd sas, "Okay eveyone ready? I don’ el eay a all fel overburdened wah equipment and scared something pire to go ‘wrong fer ding all hs wa, beri, the police tanng up or worse "een andT set i fs 1 il er hopping the ence. Then Ih the ‘camera ovr and she ns me negotiating. Once ini, we hide James films the second woup asthe steakin. Then altogether we nace the “onsrton yard and jm ourseies ino the hollow eg of tower sport Inside, James and ge eld wp trying to ads the cameras forthe new ht situs, Tha the eamera strapped around my nck as bein toc the ladies nse the eg support and he sp ecole tn, Pn aly hot. AS Pm yelng at people to let me cmb pst them v0 an fm them Cinbing ‘psa pigeon slams into me and flaps feverishly, ping ot my Redon. Telimb down so seriere them and aie the video camer ssl ecedng “Tha wll al be wasted footage, When I pl the eadphones back ye bute have died onthe aio recorder and Ian no enger hear none climbing im swenting, exhausted and I fel ike T want oc gee 7.4 Gane lnbing te For Rei Big. age: Mare Expl, 144 Gorrettond Hawkins By the time we reach he op ofthe ladder, 100 ctr above the spraying surface ofthe water and popa hatch ontop ofthe tower, ve pten sp ing ‘0 record anything Thave oly a moment oake inte vw teense Je, who i clearly amore diligent cameraman, ask ne ogo back nthe hatch {nd come out aga shea fn Sel icky with west, Leib back In the atch and dle efor a re-enacren. ‘Wetakea biof time to estuate ourselves, changing batting wtes back in, checking sound. Cooled down, Lait te camera seiags fr the "pt sky and war recording eonrersatons agus. Then he lin gis, "is ueacherous. We ed up scooting dowa the se! beans of te Beige likes: Ty to et people talk above what thes fing and edocs ‘work—we'e simply foo overwhelmed by the experience to aaa i Resting onthe 1op ofthe second tower, one hid ofthe way across [urn ‘ff he eamer,heepog the voice recorder running, and ty to prompt a Aiseuion that gos beyond description by asking everyone if they think they ate cteatng chao. Moses del esponds, “Dade, we're not on camera nymore.- "and looks sway, deflating ny ater to record more than bodied, exeed grunting. “worth ofthe way acon the brid, js past che ast tower stars ‘ain Trelis i losing my sp, tying 0 fl wth one hands cb with the other Jame, ming us fom the eter side ofthe bridge, sun el, “we don’t start crawling el fight Fcking now we te og oe on this bridge!” The cameca re tired of and sowed. The fal hos dep sate of pani athe oup runs down che tin ck wih te morning Licht beaming in. We've covered in th famows paint ofthe Porth Ral edge a We drive hme, playing he forage in theca lead nonlgic INTRODUCTION: CREATIVE INTERSECTIONS ‘Oar opening vgnete i drawn fom he eknogzaphic filmmaking practice fone of our authoil paring Bradley Garret. Ove the eoure thes yeas, Brad produced 12 vdeor whit working on a seach proc about ‘ban explecation—a aoturconerovesl pracice of soaking ny and ‘fen photographing, urban spaces closed to public aces (Bennet 30115, Garrett 2010, 20118, 2013, by Mom and Robecs 2014), Dung the sane pesiod Hari’ research focased on crestiv peographic, experimenting wth range of creative visual a and earatoral practicer exploring the ‘ale woth respec fo eseaching ane presenting Key geographical quesons sound verses of place andthe Sensing of space (Haws 2010, 2013, 20136) In this chaperwehave wo ins Primary we nateat the proces of prodocing a video enography of urban exploason, from Bea exper ee nthe field (dese inthe fist vine abo} to out colaborsne Creative Video Exhnograpies 165 cating proces (described ina second vignete below. Second, we adres {he conepal, poll ad ethical auesions thrown up inthe couse of producing thi vdeo ethnowapny, and We propos he ides of eave vdeo hnographies’ as way of mcesacly complesting potestily seduce cout ofthe methods, “Teplice and valu of filmmaking a par of ethnographic reseseh, in ‘one sense, needs no introdcton If prographes have tended fo focas an ‘nematic analyses (Aiken and Zonn 1998; Cresorell and Doton 2002), ‘wherein fini taken 4s en empl objec, flmnaking hay for ore 6 entary, had a ples in ethnographic mds, tnd played tn itmpontant role in cesearchers’ ongoing querying othe politics aad eh ofthese paces, (Banks 1992; Ruby 2005). Recent, geographers ave begun to embrace the possibilities of filmic production, iy for example ide of prtcipatory [eogaphis(Kindon 2003 Par 300%), aad in elation to embodied otek Aut-thnographic working (Laurer and Philo 2006; Simpson 2013) Wi the ation of Pink's (200, 2008) recent work on vdeo making spt of ‘mult-moda, mulsensiou ethnogaphis of place and community, rdco cthnogaphy has been fly exablshed ss 4 resaich method Ye ab We ‘want to explore in his chop, there are ere of nportams quintet seopapher as flmaakers have yet to addres in eg tothe production fv, especialy ax prt fehnogeaphic research ‘The pivot of our coacerns the ned to sppeeie the creative posites and aficine fore of fmmsking, We cha! haa fow sah of ty Fst, there are importa asin) lines of guesoning, we think roared oceasing vale in ing. Second, we want to encourage ound thee interests nce jst in icusen of the acialies of eglpmen and the Sveopment ‘of techniaue But ako inthe phlosopy and palin of how parte ‘Third wear concerned wa the role of sreativy during the eng po est Finally, we want fregroundhow, a finakers, we eed tapes ‘te how out material go te wrk on andienes how te produce force ofthese creations exceeds oe lntersions, estes and capac of tefl ‘ake Insum, and as with ther erent ote alld arf rexper. ‘mental) methods, valorisaon is based in the posible thee prctes offer 10 morethan-sepeesexational modes of toquy, and am cessing ‘ecogniton ofthe need tadewtand and appcecate the manifold prodes, five forces of creative praczes im the world (Dwyer and Davie 2010; Hawkins 2013b; Last 2012). To eabocate on key gueons and chepet scuctte, we watt elt return to ar opening Venese ‘Viewing the sil rae wih which the chap opened (igure 71}, we are reminded ofthe rite adage hata pice & worth a toasted words This image, one il frame from amongst chosandecollted that nigh, oouins & sens ofthe infermationalconcetation that can be packets frame, ‘erlang apace and complesty of soil backsory and embodied scion tht ‘outros the possiblities of emincalabeereston fermen ot a 00K: Bitches 146 Garrettond Haskins 2005) awe explore via rad fins, oe ky deo geograpi video ‘aking pesealiiehe da’ coped ale fot nv ayo {Sealand repeetonl nine 2000 Maro 20st Video eae the sudy os range of adr revert ear. foch ican open ow of testo ofthe nono iurepentoel ‘tong ihc the menace ea a tela ates ing vino technologie enable cestode ng that {re beyond the eapaciy a human esy som tthe proves ty awe freconfigaons ofy puce ele tons Toe rans po to mek one cath ct tang seconded by anthropologist ty alo roe he cache te, Aig arvarcherstes npn singe ueiono be ployment er solo inves mal conideaton the che id hese loa queping fhe io a, acion ane coming, Cone Crean trowpout thoes so aye ges ‘san era, rc and ecg suring ee ald new odes of enquy and oni our ecco ene, og. th solos not ony eles cpa ad aflodanes teed ‘Searhereubjets bu ao allow ina och rand he per ‘at ns of echlgy ethno sell pox Ths deseo Steuer spr at hae ‘Ethel par of ahs ches flonng Rove 07), we end oul lev meidlogeallesin wo dson ing io oes he pcs dig a enarging eonsderaons of aden Video alae or ‘oduton ofan eiaopaphe uve Pak 2000 thas Brad rc ‘he reetchescan "nea ins sd pace bod the fl opr IGanet 201,26) Hes, however west ate Valsad spac a Fgh Hs ming Sn i nd orang oe 2007 wt combaaelreiceaherpree wees ieee andro nse of ciple pecs areas mac ako esearch nd als a they rote ode productions ouput ‘iting of courses querson a sudenng, Consideration of see ingore we round he rode fae ons one malic iene ofthe wore fom the Hamaker a fas fd base ene yr hy aes who eg em ste No ing ough he wor, ico chogeapic senion goto work a cdvays searches, hve oll ad selena ke fyavct the ees of or ene ete mgt be efor ‘nl tenn, create, sete eymb,pltal ol of he nce flwkins 2013) We empbanse he eed ob ila resnding the ‘rss of our ehnographc prodiccons bing meblsed ty tre, ‘eleployed in way Ga ch at acto te cents see, ‘ter ses nd obesity wher none wes lied and change mes ‘spn ways through iconrons wi statlehnorphc teen restive Video Eshnogrephies 147 KIT THAT WORKS: CONCEPTUALISING EQUIPMENT ripen chief fasion fie rogers loge ton sn rican (aul 208, Inuking an etsy of than expoton, gk adepon wn atl othe pyar pc, do cy el, It ucla of ny (ara 20102010 Conornng ‘intel unl cnoypi ing ose wi ily tsa in sealeemounediebeton Vio AD) ce. so tostnd HY comes weld mt, etd eon te psa eggdon sn spe manual conto combined with he thilgronmadlcncral msopiomn encase he schcog pods patrol i al omer nd ev ing cing a toh nly aga ecm Ps cmted for enous tous il nothg te Ising hfs nearing omer ay 208) Fay en ‘sean ng coms nd clei ein ak pcemegget nt rial wtcan br inert tens te nan ay when ag hil pe kyon eupmenrwa urd ob tt oe aie sat of aban coon Rattan enon ic a moa, Towers achoce war mac wor wih rojerparpa ordre {Sr Cilaoatve deo wee ped upon bot wh snd wien £55 enter oot odag ar on pine ao Sop Emini wih honing Sow on iwerquay hal am he owed fe nobly ade cata ibecemen ik ‘eet ham wed a el ‘key wih ll amc oorone ine when len conn, ‘est fs mary ech toch te ‘San acta ue nea oe ely alread oe spond poss pyri seas DSLR ont te ll eae xpress ‘tists cat fornaranstl en adore ming eo ‘hae to) tr sponses 35 onal dopa Aid ped wih ate Thong td ach co oe ‘tao Spotl mor ey inca open Wid ob Strays cagle cers ele ha lowed fr pee Chae profenacal rocco eb land tig Deynd tea log we wold et be el nea te ton ofan nial ak’ nly snd she ed bah yt io { bewing nde mest ta pd cree atl Cal fh at xpi cont ode ag, octyl chants embed enor oP 208) Inthircnce loinc nu ofmatamnary apd ate dscovey postin wake FOV ces, wpe ta oy reclame engs eng enon! Gece 148 Gores and Hawkins mobi ad sensory ethnographic (Spinney 2009; Seaughan 2011) such studi video ehnographis sand a esearch areas ith anild posi ‘ites. These inhdeenablingan exploration of event tat might ere be missed inthe course of ‘ction’ important when focused on eimbing 4 brid, for example the preseason of ine grained exploration of sn. sory expences though the production ofa ml-seosry Selig there's 8 doing something’ o “being someone that igh therwise no be PUPA. ‘ally pose or acesible othe esercher Tooaplrethese ideas frthey, we no the Hobohemitavelogse rip. ‘yeh, a series of ethnographic videos made by Brad spat of he erban exploration fieldwork.” Through urban camping and rin explocation he ‘ls aise questions shout she neractions tesween bole tthe forces and materials of derlie architec Tn the fms wei the forces ed tensions of explores’ bots best on ation at hey balance craw, rg, slices and side es ways ough gape and spats. Viewers ae remincad ofthe muisisensoous posibilies of fim beyoad the viol and sur 33 textures io partcaar Become picared and sounded (Marks 2002), Frames focused os balanced et, piping bands and contorted lin, ender ale the forces of material interaction, physi tension wien in mses, sew sn aro fce. ‘What r made isle in vhs shots ste interplay of the five external senses wit the internal senes engaged by bodies acdon Playing out fore our eyes isthe thinkingfelng—the inthe-moment decor haking-of bodies ledges texted for wephe-bearng ope is swang and eso ovr dsaeethetrined- bodys honed capaci and lations tse, apprehended and overcome fn heir coplying, we can epprevate te shot 45 rendering vise ofthe lvisle;both thos things wich the pilony ‘fhe humae ee may nov normaly enable to rig It fecal ote ‘hingr—fores and fects fox enaupletha have to val pre cated | the sui, the inference, te aerng ad athe tnaginton of wha ay sete fame. Difleen technologis—the shoslder mounted camera, the DSLR ante Pods the head-mounted POV camers—produce diferent felds of win (Danis 1999) "The varying modalities of sexing thet inher within ce iieres “views or the worl ve 2007) produce fern sexe ser ilies that id form inthe al fine. The hedear for example ued ‘both the Forth Ral Bridge inet above and ao vise in he ip Our Ou ruta Isond (Figure 7.2)~is eeerared fr ts istprson Wewpoint® Despite acknowl iasts with missing synaethsay fi aed fo po. Ving “dynamic, sic, ade pepe Brown eal 20089 lng ‘a gutevay to azeting embodied, seasory, Knees sndemotonal now! lav and expesens. Furthermore te hana re atosesngs of POV cam {25 while reducing the "quality of the foeage acording wo thowe along, ‘he echiel proces and capes of lnalang) is sen as. ore oes, Sve lest seectve mode of recording Asa rsa i ftshned ian diferent Fe7.2_ Asta om thebendam in One Own Prete end. tage Bradley I Cae. 150 Garrettond Hattins way as fering fil ite focal fey ite fs capac record omprebersiv, elie actives, which capare the dramatic slongice he ‘mundane withour prvging eter” Browne al 2008, 7 For Us what is especlly noteworthy ae the poss body-mounte POV equipment fe fr experimentation with sew modes and ste feng, 2 the handset made enables rseaicer to leone mote meaning, gaged in prcties. As Brown eal (2008, 7) sat, the ‘doing of cesar ‘shoul ae eelpse the ‘ding af heavy under search, Thee are com Promises too, though, fos footage depends comply om internal techclony {dal with hings ke changing ligt staatons ft preseaes a nity to ‘ore than erde or rudimentary shot framing, and offers medic sound ‘recording capability amidst shay shots repeated instances farina ‘nd fad recordings. We wil return fo these uses blow, but oon his

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