We’re super happy to tell that me, Joel and Doug Brownlie are going to be guest editors for an exciting upcoming Videography Special Issue in Journal of Marketing Management titled “Screening Marketing: Videography and the Expanding Horizons of Filmic Research“.
It’s a fantastic opportunity for all research filmmakers to embrace video in a variety of ways. Notably, we’re accepting film submissions. As far as we know, our “film only” submission format is presented for the first time ever in a renown academic journal. In addition, it’s possible to send “film plus commentary” pieces as well as classic written papers.
This is an astronomic step towards making video an even more legit research format. We hope the special issue will open new doors and spur new creative thinking and approaches in research that is in tune with “era of video” we currently live in. Feel free to be in contact with us should you wish to inquire about submissions or requirements. Submissions are due November 1, 2016.
See the detailed Call for Papers behind the link HERE.
This list hopes to facilitate access to full-length consumer research videographies screened previously in conferences (e.g. ACR, CCT, EMAC) or journals (e.g. CMC, QMR) over the last 10 years that are “free to view” online. I find it a common problem that many of the films are scattered around the net and difficult to find when needed. They are an excellent resource and certainly merit more attention – not to mention citations!
I reviewed all consumer research conference proceedings and journal special issues that I know have presented films. Then I tried my best to track down each film across video streaming sites or authors to see if they are available online (in full, free access). Please notify me if your film is still missing – I’d be happy to add all! I found a total of 33 films from 2005-2015. With an average 700+ views these films also prove they reach far beyond standard conference audiences.
Find here the full list (CLICK THE TITLE TO ACCESS FILMS):
Cléret, Baptiste (2015) “Street Corner Compromises” ACR
Hietanen, Joel and Joonas Rokka (2015) “Monstrous Organizing: The Dubstep Electronic Music Scene” CCT / ACR / EMAC
Bonnin, Gael, Alain Goudey and Marat Bakpayev (2014) “Meet the robot: Nao’s chronicle” ACR / EMAC
Rokka, Joonas, Pekka Rousi, and Vessi Hämäläinen (2014) “Follow me on dead media: analog authenticities in alternative skateboarding scene” ACR
van Laer, Tom, Luca Visconti and Stephanie Feiereisen (2014) “Need for narrative” ACR
Veer, Ekant (2014) “I am struggling: men’s stories of mental illness” ACR
Wijland, Roel (2014) “In brutal times” ACR
Myöhänen, Henri and Joel Hietanen (2013) “Entertained to excess: The contemporary practices of boredom” ACR
O’Sullivan, Stephen (2013) “What happens when brand evangelism meets entrepreneurship? Introducing the second tier tribal entrepreneur” EACR
Ramachandran, Giridhar (2013) “Consumption communities as third spaces” ACR
Rokka, Joonas, Baptiste Cléret and Alice Sohier (2013) “Entre-deux-mondes: the shaping of artistic projects in a local music scene” ACR
Seregina, Anastasia, Norah Cambell, Bernardo Figueiredo and Hannu Uotila (2013) “A Pen” ACR
Barretta, Paul and Yi-Chia Wu (2012) “Perceptions of music authenticity” ACR
Viitala, Karolus and Hietanen, Joel (2012) “Differing everydays – Planning and emergence in contemporary mundane routines” ACR
Hietanen, Joel, Joonas Rokka, and Risto Roman (2011) “Pushing the scene – tensions and emergence in an accelerated marketplace culture” ACR / EACR
Hu, Anne and Curtis Haugvegt (2011) “Changing consumer behavior in diet and health” ACR
Uotila, Hannu and Joel Hietanen (2011) “Post-materialist work: Emerging self-actualization in the video industry” ACR
Caldwell, Marylouise and Ingeborg Kleppe (2010) “Walk the talk: Living positive with HIV” ACR
Castano, Raquel, Maria Eugenia Perez and Claudia Quintanilla (2010) “Cross-border shopping: family narratives” Qualitative Market Research: An International Journal, Vol. 13, No. 1, 45-57.
Cherrier, Hélène and Tresa Ponnor (2010) “Trash in the eye of the beholder” Qualitative Market Research: An International Journal, Vol. 13, No. 1, 8-23.
Rabikowska, Marta (2010) “Whose street is it anyway? Visual ethnography and self-reflection” Qualitative Market Research: An International Journal, Vol. 13, No. 1, 58-83.
Webster, Cynthia, Richard Seymour and Kate Dallenbach (2010) “Behind closed doors: opportunity identification through observational research” Qualitative Market Research: An International Journal, Vol. 13, No. 1, 24-35.
Eckhardt, Giana and Andreas Bengtsson (2009) “Naturalistic group interviewing in China” ACR / (2010) Qualitative Market Research: An International Journal, Vol. 13, No. 1, 36-44.
Fleck, Joao Pedro, Carlos Rossi and Nicolas Tonsho (2009) “Vinileiros” ACR
Rokka, Joonas, Joel Hietanen and Kristine DeValck (2009) “Brothers in paint: a practice-oriented inquiry to tribal marketplace culture” ACR
Caldwell, Marylouise and Paul Henry (2008) “Urban archetypal hedonistas” ACR / (2010) Qualitative Market Research: An International Journal, Vol. 13, No. 1, 84-96.
Veer, Ekant (2008) “This day is to be special: The role of exaggerated contrast in the Indian wedding” ACR
Henry, Paul and Marylouise Caldwell (2007) “A right to life: reducing maternal death in Pakistan” ACR
Kjeldgaard, Dannie and Jacob Östberg (2007) “Coffee Grounds and the Global Cup” Consumption Markets and Culture, Vol. 10, No. 2, 175-187.
Caldwell, Marylouise and Paul Henry (2006) “Headbanging as resistance or refuge?” ACR
Ulusoy, Ebru (2006) “Not Desperate Houswives”, ACR
Bengtsson, Andreas, Jacob Östberg and Dannie Kjeldgaard (2005) “Prisoners in paradise: subcultural resistance to the marketization of tattooing” Consumption Markets and Culture, Vol 8, No. 3, 261-274.
Bergvall, Sven and Jacob Östberg (2005) “Burning Bock” ACR
Endorsed by the Lifestyle Cluster, Transforming Markets & Changing Lifestyles Research Center, and Department of Markets & Innovation at EMLYON Business School, the first Lyon Videography Workshop took place at the Ecully campus as a two-day intensive research workshop that welcomed a group of researchers, Phd students and practitioners inspired of doing research on video media.
This was already the fifth Videography Workshop event I’ve had the chance to be part of organising. This time I invited Hannu Uotila as a co-organizer. He is a top European film producer and CEO of an audio-visually focused market research company (Sailer Ltd.) based in Finland. Combining our prior experience in academic and professional, commercial film production allowed an interesting setup for discussions and perspectives into what is currently emerging as a novel research practice.
We were a total of 13 participants, a highly international group representing 8 nationalities (France, Finland, Scotland, USA, Peru, Turkey, Morocco, Germany) and varying professional backgrounds. Notably, we had EMLYON marketing faculty (4), Phd students (3), external marketing professors (3), and external professionals (3). Only few participants had prior filmmaking experience.
The 2-day program was, as one could imagine, action-packed. We begun with important theoretical and ontological considerations about what doing research on video means and entails, drawing on assigned pre-readings and films. We then covered important videographic research streams, as well as modes and approaches to filmmaking (notably visual ethnography and documentary film). Thereafter, reflected on insights from prior videography projects and illuminated the process of filmmaking – including pre-production, production and post-production.
After the theory part we engaged into hands-on videography projects that were completed from inception to finish within 24h. Each participant had brought an idea about research-inspired short film that could be filmed and edited within the limits of time/space of the workshop. We collectively chose two topics that were then pursued in two teams, under supervision. We assigned appropriate roles for each team-member: director, producer, director of photography, script supervisor, and photographer/editor. Enacting these roles made it not only possible for us to complete our highly challenging filmmaking tasks but also taught various tasks and points of view necessary for building compelling filmic experiences. Both resulting films, 3 min each, were completed and finalised in time, and then screened at the workshop concluding “Film festival” where films and filmmaking experiences were further exchanged.
The learnings of the workshop were many. Here is a list of some of the evident ones:
- Doing films is a practice that requires careful planning and focus. Poor planning, on the other hand, results in unusable or missing footage and thus unfinished or poor films. This is why we spent time working on scripts and storyboarding (we really could have used even more time doing so!) before touching the cameras.
- Doing films is necessarily teamwork and thus the best result comes when the team functions seamlessly, flexibly yet according to the plan (script + storyboard).
- Filming is all about being ready for the unexpected, facilitation of the potential for something interesting to emerge.
- Filmmaking is all about access. Therefore negotiating access to the studied phenomenon needs to be considered and planned as well.
- Justification of all choices. Be it your story, camera angle, argument, talking heads, mood, background music, voiceover, transitions, b-reel footage – always ask: “why do I need this element for my film?”
After the official program we visited the Institut Lumière for an intriguing history lesson on filmmaking. This was important as the moving image has indeed been invented in Lyon!
Next up: the 2nd Lyon Videography Workshop will be organized as a 2,5 day event on 16-18 May 2016, just before the French Marketing Association conference (AFM). There are still some places available, so be quick to reserve. Apply by sending email to joonas.rokka(at)gmail.com
Some pics from the workshop:
Apply now to the next Videography Workshop organised at EMLYON Business School, Lyon, France, 26-27 November 2015 (or the following one in May 16-18, 2016). This two-day intensive workshop is designed particularly for researchers, Phd students, and industry practitioners who wish to communicate their research through video medium, or who wish to prepare a videography submission for a conference. It consists of both theoretical and practical ingredients and insights on research videography production, including short lectures, discussions, readings, video examples, and a hands-on videography research project that is completed during the workshop. In short, videography presents an innovative and transdisciplinary research methodology that can be used to study, for example, identities, experiences, communities, practices, brands, or organisation on the moving image. If you’re curious to know more, have a look on participant reflections from the last videography workshops here. Participate by sending a message of interest to: joonas.rokka(at)gmail.com. We can only accept max 12 participants per workshop, so be quick to reserve your spot!
Academic videography productions taking some important steps this week as the film festival was introduced to European Marketing Academy’s yearly conference for the first time. This is excellent news making it possible for filmmakers to submit their work to number of major venues. In addition to ACR conference (Association for Consumer Research) – where the pioneering film work has become a staple feature since 2002 – other options at the moment include for example CCT (Consumer Culture Theory conference), AFM (French Marketing Association) and JNRC (French consumer research conference). This is absolutely great, and we really hope spread even further. Next major conference to invite videographies is the Winter AMA 2016 (American Marketing Assoc). Please send your work!!
The EMAC film track where we joined offered five very nice films touching topics as diverse as consumers’ need for narratives, heterotopic tourist experiences, robots, and electronic music markets. Find the film trailers behind the link here. Our film is a completely new edit of our previously made, award-winning Pushing the Scene (2011) film with a specific focus on exploring how contemporary music scenes and markets come into being and dissipate and how they are negotiated in a complex relationship between the marginal and the mainstream, commercial interests, technologies and ideologies. We conceptualize this evolution in the film as “monstrous organizing” and thus extend prior market and consumer research studies on market dynamics. Check the trailer here (we will make the full film available later): https://vimeo.com/127473931
I recently gave an interview on ‘Follow Me on Dead Media‘ film that was presented and awarded the judges’ choice award at the 2014 Association for Consumer Research conference (Baltimore, US). Since the interview was published in a Brazilian magazine (and available in a blog post by Mariela Castro here), I thought I might as well share some of the insights here in English.
Watch the film here:
(Some selected clips from the interview:)
1) Can you tell about your film/research and the approach taken?
My research focuses on a skateboarding scene based in Helsinki, Finland. It entails a diverse group of people in terms of their background but who are connected and share a keen and sincere interest in skateboarding. I would describe this scene as ‘alternative’ in the sense that, globally speaking, skateboarding has become part of mainstream mass culture and commercial markets already long time ago. The studied group of skateboarders therefore want to distance themselves from this mainstream tendency and instead look for alternative, more creative, and meaningful ways of being and enjoying skateboarding. I have followed this emerging group since March 2013, using interviews, participant observation, and by studying subcultural media – in other words, methods common to cultural studies. The study is still ongoing but I have already published some results in academic conferences.
2) What are the motivations of the studied young people to prefer analog over digital media?
This dialectic between the analog and digital media is what really interests me a lot. Previously, I have studied alternative scenes and genres in music and evidently the relation between analog vinyl records and digital music streaming is curious. I have been asking how can we explain the rising sales of vinyl records in an age when almost all music is easily accessible via sophisticated online technology. I first thought this might be a phenomenon specific to music only. However, I have now realized that it is not the case. For instance, we can also see a tendency of analog photographing and filmmaking coming back. My present study on skateboarding scene is another strong case in point. Instead of embracing social media such as YouTube, Facebook, and Instagram, they adopted and were fascinated by the already abandoned, inefficient, and largely unused analog media such as “paper-scissors-and-glue” type zine magazines, typewriters, letters, VHS film, old-school cameras, and Instant lettering. I believe it has to do with the overload of digital and social media that is beginning to lose its charm. For example, so many ‘mediocre’ or poorly made skate films are being published online making it less and less interesting for the skateboarders to post something there. The analog media offers a particular, not too polished aesthetic that can be explored and used to create completely new meanings. I would say it is effectively a counter-reaction to the emergence of digital mass media.
3) Do you believe this phenomenon is typical of current days? Or have you noticed something similar in other periods of time, or generations?
I think the digital era is something unique from historical point of view considering it’s impact and character. So I don’t think we can find examples from the past quite like that. On the other hand, it is interesting that some media persist over time longer than others – for example, the case of radio, which is still popular even if it could have been replaced by more advanced media. On the other hand, what I find as a clear repeating pattern here – and well documented by prior research – is the way in which an idea, product, or medium becomes commercialized and brought to the masses and then gradually losing it’s charm, and thus eventually leading some group of people to look for inspiration elsewhere. I think this is now beginning to happen with regard to social media.
4) What impacts this might have on the economy or technology? Can we say this is already a consumption trend?
The turn to analog media is still quite a small-scale and marginal phenomenon. But the signs may eventually be seen. For example, in 2014, analog vinyl LP record sales has re-surged to reach million (pound) sales for the first time in 18 years. The sales has increased over five-fold in the last five years according to some statistics. This may be an example where many assumed analog to become an obsolete format and they were totally wrong.
5) What does this behaviour represent in terms of culture and social behaviour?
I feel that consumer culture is very fond of its past. The multitude of retro and vintage trends are good examples. People find comfort and warm memories linking with the past in a world that is increasingly focused on the future and moving forward at full speed. Yet, I would also like to emphasize that this “longing for the past” is probably not the only or at least to me very convincing explanation for the re-emergence of analog media. For example, some of the skateboarders I interviewed had absolutely no prior experience of the analog media they were now adopting. I mean, they had never tried a typewriter or even written a letter before in their lives. This leads to suggest that there is something fascinating in the aesthetic universe that the analog seems to offer – one which is perhaps more concrete, rugged, and unpolished. Something that is physically there and intensively felt. I can imagine such aesthetics to have resonance beyond this small example, in arts and other fields as well.
Also, I feel that it is a hasty conclusion to say that the analog would come back and replace the digital any time in the future. Rather we’re seeing a co-existence of various analog and digital media that can take up multiple forms and expressions.
Here’s a couple of other media hits for FMDM film:
Creating meaning in the abandoned by Non-use.org (2014-10-28)
Video: So lebendig sind die totgesagten Medienformen by W&V (2014-11-6)
The most recent Videography Workshop took place at Lund University, Sweden (2-3 December 2014), with a very very nice group of enthusiastic filmmakers. Next week we’re heading towards the mountains with new set at the University of Innsbruck. The boat is moving!
Find here some reflections from the participants in Lund, Marcus Klasson and Carys Egan-Wyer, who kindly wrote a detailed piece based on their workshop thoughts and first steps towards academic film production (here). Below is also something worth checking – their 2 min film titled “Strange” that was produced during the workshop. Well-crafted and filmed story in my view, especially considering the limited time we had. Looking forward to hearing more from these guys!
In the snow-covered Innsbruck, the agenda will be largely the same: together with around 10 participants we aim to cover a broad range of critical theoretical and ontological questions relating to what making research on video format means, and then get our hands dirty by planning, filming and editing two short films in just two days. These are, hopefully, the ingredients for many fruitful discussions on how to advance research on video media.
Will write some notes on how things go!
(Below some action pics from Lund…)
The ACR Film Festival hits off again in two weeks time with new exciting consumer research films.
Here’s a teaser for our latest contribution. Follow Me on Dead Media is a piece exploring the “turn to analog” as a particular countercultural movement addressing the ever digitalizing mediascape. The study is based on recent fieldwork in skateboarding scene in Helsinki.
See you in Baltimore!
Ps. The entire film will be posted here after the conference (24.-26.10.2014).
Can’t stop this! I had the pleasure of facilitating a two-day Videography Workshop a couple of weeks ago (something similar we organized at Rouen Business School last year). This time we gathered at the Delft University of Technology in Holland that proved to be a fantastic site for the event: the entire facility was well-versed for creative work with massive open working spaces, several “real” workshops with tools and machines, and everywhere around us students working on their product design sketches and projects – in fact, many of them were doing films right on the spot.
We had work planned for two days with a brilliant group of 15 aspiring videographers. The main objective was to consider how to embrace video media in our academic work. The program was loaded, as one might expect: we started off by analyzing various streams filmmaking – including documentary, ethnographic, experimental, artistic filmmaking – from their theoretical, stylistic and practical underpinnings and approaches, followed by a more hands-on part where we set out to test our filmmaking skills by producing short films, and by going through the different details in production phases of pre-production, shoot, and edit. As a result, we produced two short films (2-3 minutes each) in a matter of hours of highly effective and creative teamwork. The highlight was the screening of the films at the “film festival”.
Two stunning quality films from first-timers, I must say! To reflect a bit on what we did, our main filming task was to come up with a compelling audio-visual story that would address one of the key strategic areas of TUDelft – namely sustainability, health, behavioral change, or technological innovation. This proved a pretty challenging task taken that we did not have much time to go into these topics before starting. Yet, time and energy was won by applying state-of-the-art storyboarding methods in crafting the filmic stories, and appropriate division of responsibilities in terms of film production – in directing, scripting, shooting, sound recording, editing etc. As we progressed the action-packed two-day schedule, the groups proved that doing films is all about: TEAMWORK, PLANNING, CREATIVITY, and FOCUS. I believe these are the big secrets in getting some serious filming done.
Overall the workshop can be considered bon succès thanks to all participants, and especially to Prof Maria Sääksjärvi who made the workshop possible in the first place. Find enclosed some snaps from the action. Can’t wait for the next one!!
Just popping in to inform all who might be interested that a commentary by John Schouten and us was recently published in Journal of Business Research.
You’ll find the article here.
I hope the discussion on the underpinnings of video as a research approach will continue in lively fashion..!