Comparar métodos

	Etnografia Crítica	Etnografia Digital
Área	Qualitativo	Qualitativo
Família	Process / pipeline	Process / pipeline
Ano de origem	Late 1990s–2000s (netnography); critical applications prominent from 2000s onward	Late 1990s – 2000s
Autor original	Robert V. Kozinets (netnography); critical strand developed through integration with critical theory traditions (e.g., critical race theory, feminist theory)	Christine Hine (virtual ethnography); Robert V. Kozinets (netnography)
Tipo	Qualitative online research design	Qualitative research method
Fonte seminal	Kozinets, R. V. (2020). Netnography: The Essential Guide to Qualitative Social Media Research (3rd ed.). Sage. ISBN: 978-1526458414	Kozinets, R. V. (2010). Netnography: Doing Ethnographic Research Online. Sage. ISBN: 978-1847875228
Outros nomes	critical online ethnography, critical internet ethnography, critical digital netnography, netnography with critical theory	online ethnography, virtual ethnography, internet ethnography, netnography
Relacionados	6	6
Resumo	Critical netnography applies the ethnographic toolkit of netnography to online communities while foregrounding a critical theoretical lens — such as critical race theory, feminist theory, or postcolonial theory. Rather than merely describing online culture, it interrogates how power, inequality, and ideology operate within and through digital spaces, making the approach particularly suited to researchers who wish to both understand online life and challenge the social conditions it reflects.	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.