Table of Contents

Handbook of Qualitative Research Methods in Marketing

Handbook of Qualitative Research Methods in Marketing

Elgar original reference

Edited by Russell W. Belk

The Handbook of Qualitative Research Methods in Marketing offers both basic and advanced treatments intended to serve academics, students, and marketing research professionals. The 42 chapters begin with a history of qualitative methods in marketing by Sidney Levy and continue with detailed discussions of current thought and practice in: research paradigms such as grounded theory and semiotics; research contexts such as advertising and brands; data collection methods such as projectives and netnography; data analysis methods such as metaphoric and visual analyses; presentation topics such as videography and reflexivity; applications such as ZMET applied to Broadway plays and depth interviews with executives; and special issues such as multi-sited ethnography and research on sensitive topics.

Chapter 28: Entering Entertainment: Creating Consumer Documentaries for Corporate Clients

Patricia L. Sunderland

Subjects: business and management, marketing, research methods in business and management, research methods, qualitative research methods, research methods in business and management


Patricia L. Sunderland The good old days of ‘tell ’em what you’re going to tell ’em, tell ’em, then tell ’em you told ’em’ are clearly over. A more apt dictum for the digital age is ‘Don’t just tell ’em. Show ’em!’ (Sanders, 2002, p. 153) Let’s go to the videotape. (Iconic refrain of Warner Wolf, NY TV Sportscaster) My concern in this chapter is to bring to light some of the conundrums that occur in the presentation of ethnographic research in moving visual forms or ‘movies’. These movies, as a rule now shot on video, then edited and often viewed in digital electronic forms, are frequently referred to with the shorthand of ‘video’ or ‘film’, as in ‘ethnographic film’. The appellation of movie is rare in the context of research (except that it crops up on our computers via the moniker ‘movie file’), yet I have chosen this word as an apt way to begin as I believe that ideas and ideals of entertainment implicit in our cultural notions of movies play a significant role in the production of the conundrums discussed. I will make no pretense of having or providing complete answers to the issues raised here, but wish to discuss them as matters important to consider as we move ahead with more frequent presentation and thus representation of ethnographic analysis in forms beyond (the now increasingly outmoded) prose. I believe that we need to examine ways that cultural and epistemological assumptions reside amidst our (re)...

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