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| Visuaalinen elisitaatioetnografia× | Digitaalinen etnografia× | |
|---|---|---|
| Tieteenala | Laadulliset menetelmät | Laadulliset menetelmät |
| Menetelmäperhe | Process / pipeline | Process / pipeline |
| Syntyvuosi≠ | 1990s–2000s (photo elicitation roots to Collier 1957; consolidated by Pink 2001) | Late 1990s – 2000s |
| Kehittäjä≠ | Douglas Harper (photo elicitation); Sarah Pink (visual ethnography synthesis) | Christine Hine (virtual ethnography); Robert V. Kozinets (netnography) |
| Tyyppi≠ | Qualitative visual-participatory research design | Qualitative research method |
| Alkuperäislähde≠ | Pink, S. (2007). Doing Visual Ethnography: Images, Media and Representation in Research (2nd ed.). Sage. ISBN: 978-1412929417 | Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228 |
| Rinnakkaisnimet | photo elicitation ethnography, visual methods ethnography, image-based ethnography, VEE | online ethnography, virtual ethnography, internet ethnography, netnography |
| Liittyvät≠ | 5 | 6 |
| Tiivistelmä≠ | Visual elicitation ethnography is a qualitative research design that integrates sustained ethnographic fieldwork with the systematic use of visual stimuli — photographs, video clips, drawings, or participant-produced images — to prompt deeper, more reflexive accounts from community members. By combining prolonged immersion in a social setting with image-mediated interviews, researchers gain access to tacit knowledge and cultural meanings that verbal questioning alone rarely surfaces. | 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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