JMM Special Issue – The deadline for submissions has now passed, and this issue will be published in Autumn 2017.
Screening Marketing: Videography and the Expanding Horizons of Filmic Research
- Guest Editor: Joonas Rokka, EMLYON Business School, France.
- Guest Editor: Joel Hietanen, Stockholm University, Sweden; Aalto University School of Business, Finland.
- Guest Editor: Douglas Brownlie, University of Dundee, UK.
The visual character of contemporary consumer culture is a matter of extensive record. So too is the fascination audiences express for cinema, television and all manner of related digital media culture circulated by ubiquitous screens, both small and large. Beyond the intense emotional engagement of immersive moments of visual consumption, the potent impact of moving images on the consumer imaginary and their infinite remixability provides compelling reason for rethinking spaces of affect and agency, intelligibility, immanence and the bodily encounter with the audiovisual moving image (see Barker, 2009; Cubitt, 1993; Lemke, 2007; Marks, 2000). However, the context for this Special Issue extends beyond the event horizon of the digital turn in contemporary visual culture. For it seems to the editors that the status of the image and that of filmmaking practice in narratives of research both warrant rethinking; for in a world of everyday screening praxis, images are not mere innocent representations of phantasmatic illusions of reality, but critical actors in worlds of cultural reproduction (see Hietanen, Rokka & Schouten, 2015). And it is in this sense that we seek to contribute to the emerging literature on the moving image as research narrative, analytical frame and methodological system.
This special issue is intended to continue that line of thought by focusing on the emerging filmic school of research inaugurated 10 years ago by Belk and Kozinets (2005; also Kozinets & Belk, 2006) and known as videography in marketing and consumer research. The founding theme for this SI is to map out the potential and futures of videographic work while seeking better ways to articulate visual research narratology. We need a more robust vocabulary for discussing video. This idea is by no means an attempt to bring videographic research under the subjugation of textual ordering; or an attempt to make the videographic experience straightforwardly decodable as text. As a discursive order, we are accomplished at talk and textual critique, yet surprising inarticulate with regard to the moving image and the videographic research experience. Perhaps it is a matter of video’s mostly nonlinguistic nature (see Deleuze, 1986, 1989); we feel that with care and further study we could surely do better.
In this special issue, we invite contributions dealing with issues and topics similar to, but not limited to the following:
- Videography’s potential for addressing the complexity and nuance of the digital media turn in contemporary consumer culture;
- Its generative potential regarding the shaping of theoretical topics around self-identity, body, gender, affect, ethnicity, materiality, space, movement and temporality;
- Its potential to expand the narrative capital of marketing and consumer research in relation to other video production genres such as documentary filmmaking, animation, collage and visual ethnography;
- Matters of filmic technique and technologies of practice and process as they concern production, editing, viewing, sharing and streaming;
- Methodological considerations and their aesthetics as embedded in an institutional order of critique and evaluation;
Videographic praxis in relation to theory-building;
- Ethical considerations.
In seeking contributions to the above conversations we also invite you to frame your work in one of the following forms:
- The textual form (< 8K words).
- The film and commentary form (< 25 minutes plus <4K words)
- The film only form (< 25 minutes).
The three pathways offer authors and filmmakers varying options for employing and exploring the moving image in their contributions. While conventional manuscripts are welcomed (pathway 1), pathways 2 and 3 encourage authors and filmmakers to critically embrace videography submissions and interrogate them in terms of structure, organising motifs, sequencing, perspectives, theming, shots, editing, camera work, sound, narrative etc., as well as their engagement with the substantive field. Please note, for accessibility reasons, authors with accepted films will be required to provide a full transcript. The intention is that accepted films will be hosted on Figshare and embedded on the journal website. Each film will receive a DOI so that the work can be cited, and be hosted under a Creative Commons licence.
The submissions for this special issue can take three principal forms: 1) the textual form, 2) the film and commentary form, and 3) the film only form. Videography submissions can be submitted with either a 3000-4000 word commentary piece that adds to, comments, and enriches the film with academic references (option 2) or with an abstract of 125 words (option 3), in which case the film functions as an independent self-standing research product. Videographies have no pre-defined format, rules or style but the maximum length of the films considered for review is 25 min. All films need to be uploaded in Vimeo.com (http://vimeo.com) video sharing service and submitted as a password-protected link that appears (both link and password) on the abstract page of the commentary manuscript.
Manuscripts are submitted online using the Journal of Marketing Management ScholarOne Manuscripts site.
If you have any queries please direct these to the guest editors:
Technical queries about submissions can be referred to the Editorial Office
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