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| Visual Elicitation Visual Analysis× | Anàlisi Visual× | |
|---|---|---|
| Camp | Qualitativa | Qualitativa |
| Família | Process / pipeline | Process / pipeline |
| Any d'origen≠ | 2000s–2010s (consolidation as a combined approach) | Formalized in social sciences from the 1980s–2000s |
| Autor original≠ | Synthesised from photo elicitation (Collier, 1957; Harper, 2002) and visual analysis traditions (Rose; Banks) | Roots in art history and semiotics (Panofsky, Barthes); social science applications developed by Gillian Rose and Marcus Banks |
| Tipus≠ | Qualitative combined method | Qualitative research approach |
| Font seminal≠ | Harper, D. (2002). Talking about pictures: A case for photo elicitation. Visual Studies, 17(1), 13–26. DOI ↗ | Rose, G. (2016). Visual Methodologies: An Introduction to Researching with Visual Materials (4th ed.). Sage. ISBN: 978-1473943056 |
| Àlies | VEVA, photo-elicitation visual analysis, image elicitation visual analysis, participatory visual analysis | visual research methods, image analysis, visual inquiry, visual data analysis |
| Relacionats≠ | 4 | 6 |
| Resum≠ | Visual Elicitation Visual Analysis (VEVA) is a qualitative method that uses photographs or other images as interview stimuli to prompt participant engagement, then subjects the resulting visual materials — both the stimuli and any participant-produced images — to systematic visual analysis. The approach treats images as the primary analytic object, examining composition, symbolism, and visual meaning rather than limiting analysis to the verbal discourse images generate. VEVA is particularly powerful in participatory visual research and photo-voice studies where images are both elicitation tools and data. | Visual analysis is a qualitative research approach that systematically examines visual materials — such as photographs, films, artworks, advertisements, and diagrams — to understand how meaning is produced, communicated, and interpreted. Drawing on traditions from art history, semiotics, and social science, it treats visual objects as data that carry social, cultural, and ideological significance. Multiple frameworks exist, from formal compositional analysis to discourse-based and audience-reception approaches. |
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