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| Digital Oral History Method× | Digital etnografi× | |
|---|---|---|
| Fagområde≠ | Feltmetoder | Kvalitativ |
| Familie | Process / pipeline | Process / pipeline |
| Oprindelsesår≠ | 2000s (digital variant of oral history established 1940s–1950s) | Late 1990s – 2000s |
| Ophavsperson≠ | Oral History Association; Donald Ritchie; Alessandro Portelli (digital turn elaborated early 2000s) | Christine Hine (virtual ethnography); Robert V. Kozinets (netnography) |
| Type≠ | Qualitative field research method | Qualitative research method |
| Oprindelig kilde≠ | Ritchie, D. A. (2003). Doing Oral History: A Practical Guide (2nd ed.). Oxford University Press. ISBN: 978-0195154344 | Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228 |
| Aliasser | digital oral history, DOH, digital life history interview, digital recorded oral testimony | online ethnography, virtual ethnography, internet ethnography, netnography |
| Relaterede≠ | 5 | 6 |
| Resumé≠ | The digital oral history method is a qualitative research approach in which personal testimonies and lived experiences are elicited through recorded interviews, then preserved, managed, and disseminated using digital technologies. Building on the established oral history tradition, the digital variant leverages audio and video recording equipment, digital archiving platforms, and online dissemination channels to expand access, ensure long-term preservation, and enable richer multi-modal analysis of narrator accounts. | Digital ethnography is a qualitative research method that adapts traditional ethnographic fieldwork to online and digitally mediated settings. Drawing on sustained participant observation, document collection, and sometimes interviews, the researcher immerses themselves in one or more digital communities — social media platforms, forums, gaming spaces, or messaging groups — to understand how culture, identity, and social practice are constructed through digital interaction. The approach recognises that online spaces are not merely reflections of offline life but distinctive sites of cultural production in their own right. |
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