השוואת שיטות

	אתנוגרפיה דיגיטלית ביקורתית	אתנוגרפיה דיגיטלית
תחום	איכותני	איכותני
משפחה	Process / pipeline	Process / pipeline
שנת המקור	2000s–2010s	Late 1990s – 2000s
הוגה השיטה	Synthesised from critical ethnography (Thomas, 1993) and digital/virtual ethnography (Hine, 2000); scholars including Bhatt, de Roock, and Saldanha developed explicit critical-digital frameworks from the 2010s onward	Christine Hine (virtual ethnography); Robert V. Kozinets (netnography)
סוג	Qualitative research design	Qualitative research method
מקור מכונן	Bhatt, I., & de Roock, R. (2013). Capturing the sociomateriality of digital literacy events. Research in Learning Technology, 21. https://doi.org/10.3402/rlt.v21.21624	Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228
כינויים	CDE, critical online ethnography, critical virtual ethnography, digital critical ethnography	online ethnography, virtual ethnography, internet ethnography, netnography
קשורות	5	6
תקציר	Critical digital ethnography is a qualitative research design that combines the immersive, participatory observation of digital ethnography with the power-conscious, emancipatory orientation of critical theory. Researchers embed themselves in online communities, platforms, or digital practices and examine not only what people do online but also how digital spaces reproduce, challenge, or transform structures of power, inequality, and identity. It is widely used in education, communication studies, and social science.	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.