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| Visual Anthropology× | Sensory Ethnography× | |
|---|---|---|
| Dziedzina | Anthropology | Anthropology |
| Rodzina | Process / pipeline | Process / pipeline |
| Rok powstania≠ | 2001 | 2009 |
| Twórca≠ | Visual anthropology tradition (synthesized by Marcus Banks; ethnographic film lineage) | Sarah Pink (building on the anthropology of the senses) |
| Typ≠ | Use and analysis of images as ethnographic data and representation | Fieldwork and representation attending to the full sensorium |
| Źródło pierwotne≠ | Banks, M. (2001). Visual Methods in Social Research. London: Sage. ISBN: 9780761963646 | Pink, S. (2009). Doing Sensory Ethnography. London: Sage. ISBN: 9781446287316 |
| Inne nazwy | Visual Ethnography, Ethnographic Film and Photography, Image-Based Anthropology, Anthropology of Visual Media | Sensorial Ethnography, Ethnography of the Senses, Multisensory Ethnography, Sensory Fieldwork |
| Pokrewne | 4 | 4 |
| Podsumowanie≠ | Visual anthropology is the use and analysis of photography, film, video, and other visual artefacts both as ethnographic evidence about a culture and as a means of representing anthropological knowledge. It encompasses images the researcher makes in the field, images that members of a community produce themselves, and images already circulating within a society, and it studies all of them as social objects with meanings and effects. As Marcus Banks frames it, every image carries an internal narrative — what it depicts — and an external narrative — the social relations of its making, circulation, and use — and visual anthropology attends to both. | Sensory ethnography, developed by Sarah Pink, is an approach to fieldwork and representation that treats human experience as fundamentally multisensory and embodied, attending deliberately to smell, touch, sound, taste, and movement alongside the sight and text that conventional ethnography privileges. Rather than reducing fieldwork to what can be observed and written down, it asks the researcher to participate in and reflect on the felt, sensed texture of everyday life. It then seeks forms of representation — evocative writing, audio, video, walking with people — that can convey that sensory knowing to others. |
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