As novas técnicas de pesquisa em comunicação visual: uma proposta metodológica da videografia

The new research techniques in visual communication: a methodological proposal of videography Alba Marin Hypermedia Communication Department, University Savoie Mont Blanc, France Fernando Contreras Department of Journalism I, University of Seville,Spain Abstract The aim of this paper is to show the application of videography in communication research. Having overcomed the debates on the epistemic weakness of audiovisual anthropology, we can adopt these tools characterized by the diversity of formats and supports for social research. For the study of non-fiction audiovisual production, interdisciplinarity allows flexible work based on the interrelation of elements of the various disciplines involved. We propose a methodological model composed of visual analysis, interview and videography for the study of audiovisual documentary. We have applied the method to a sample of documentaries and to three case studies of documentary productions in different formats. The expanded or immersive nature of the documentaries we analyse have led us to create specific categories of analysis for these new formats. Complementary we have introduced the 360º video in one of our case studies to know its possibilities. Among the results obtained we highlight the creation of a visual, textual and audiovisual material that provides us with information for the study of the documentary. The article fournishes a comparison between video formats and a theoretical reflection around the researcher’s gaze and the self-referential nature of research that shares the audiovisual simultaneously as an object and method. Keywords communication; videography; documentary film; visual methods; methodology As novas técnicas de pesquisa em comunicação visual: uma proposta metodológica da videografia Resumo O objetivo deste trabalho é mostrar a aplicação da videografia na pesquisa em comunicação e especificamente a proposta de um modelo metodológico para produções audiovisuais de não-ficção. Superados os debates sobre a fragilidade epistémica da antropologia audiovisual, podemos adotar essas ferramentas visuais caracterizadas pela diversidade de formatos e suportes à pesquisa social. Para o estudo do documentário, a interdisciplinaridade permite um trabalho flexível baseado na inter-relação de elementos das diversas disciplinas envolvidas. Propomos um modelo metodológico composto pela aplicação de análise visual, entrevista em profundidade e videografia para o estudo do documentário audiovisual. Aplicamos o plano metodológico a uma amostra de documentários em diferentes formatos. A natureza expandida ou imersiva dos documentários que analisamos levou-nos à criação de categorias de análise específicas para Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020, pp. 127-147 https://doi.org/10.21814/rlec.2120 Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 128 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras esses novos formatos como o interativo, o transmedia ou o imersivo. Além disso, introduzimos o vídeo em 360º num de nossos estudos de caso para conhecer as suas possibilidades. O artigo fornece uma comparação entre os formatos de vídeo e uma reflexão teórica em torno do olhar do pesquisador e da natureza autorreferencial da pesquisa que compartilha o audiovisual simultaneamente como objeto e método. Palavras-chave comunicação; videografia; documentário; métodos visuais; metodologia Introduction: an audiovisual prospective for the study of communication The communication research is a field of study in which we must continuously adapt the methods to the emerging forms of new media. In a context where human actions and socio-cultural environment mix with thetechnology, we should consider the use of visual techniques and digital media that can complement other traditional Social Science research techniques (such as content analyses or interviews).This work shows the recording of reality with audiovisual technology as a useful tool for scientific research.For this purpose, we have studied nonfiction productions linked to alternative realities, expanded, participatory and mobile narratives. We understand documentary as a contemporary audiovisual expression set halfway between artistic creation and media productions so that it can be framed in the context of visual studies (Bal, 2016; Brea, 2005;Canclini, 2010;Contreras, 2017). Visual studies offers an interdisciplinary structure that allows us to interrelate elements of the disciplines involved in audiovisual creation. Although these disciplines do not share the same methodologies, they have the same object in common. Communication theory is considered a “crossroads science” in which several sciences converge(Rodrigo-Alsina, 1989, p. 113). Documentary is at this intersection on several levels. We use the terminterdisciplinary because different disciplines share the object of study. As Mattelart and Mattelart (1997)has underlined, “the objects of study are often imposed on research, due to the available methods, when what would have to be done is to adapt the methods to the object” (Mattelart& Mattelart,1997, p. 57).Theirperspectiveis similar to the one proposed by Breawhen he stated the need for a “polyhedral” approach to the study ofcommunication (Brea, 2005, p. 13).Both authors agreeontheir arguments about the choiceof a methodology that combines several disciplines,referringspecifically to the foundation of an epistemology of the visual in communication. Regarding the research object, technological innovation has increasingly motivated documentary makers to develop experimental narratives in shared spaces for the inclusion of users: Nonny de la Peña, Brad Lichtesnstein and Jeff Fitzsimmons(Across the Line, 2015);Gabo Arora and Chris Mikl (Clouds over Sidra,2015);KarimBem-Khelifa (The Enemy,2017);Marcello Hopkins (On the brink of famine.Urgence au SudSoudan,2017);Maria Court andRosemarie Lerner (Proyecto Quipu,2013-2019).The current thinking about the Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 129 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras creative process of a post-documentary differs from the traditional conception of the linear cinematographic documentary, since the inclusion of other techniques, such as virtual reality, makes the dynamics of production necessarily change. The notion of the documentary turned to the image of pathos(Bal, 2016), concerning its role in the human experience, as well as the possibilities associated with the narrative function of the image through technological innovation. In this context, the exploration of documentary practices to understand the contemporary visuality andtoits instrumentalizationadapted to the demands of a different spectator, are the paths that lead to new phenomena of communication mediated by technology. The communication research using visual methods As Pauwels (2000) explains, visual methodsstudy what we see and how we givemeaningtothevisual, the experience of observing visual objects andthe attribution of meaning to visual representations.This author adds another critical consideration in the use of the visual methods: “We should also try to take it one step further and acquire the necessary skills and synthetical insights for producing visual material as a crucial part of the scientific discourse” (Pauwels, 2000, p. 9). TheRevue Française des MéthodesVisuellesproposes a definition of visual methods based on a tradition supported by image research. Here, visual methods are framed in a context of reflection and practice of the hermeneutical and heuristic approach, the incursion of the criticism of the theory (Horkheimer & Adorno, 2016) and a constantselfreflection.“We could simply definethevisual methods as a set of research methods in Social and Human Sciences that are not limited to production and/or delivery of writings in their modes of scientific argument” (Bouldoires, Meyer& Reix, 2018, p. 11). In the exercise of visual and digital ethnography, the aspects of critical thinking are meticulous. Audiovisual records have been used for years in ethnographic research.The use of software, photography and video devices, social platforms or mobile apps for qualitative analysis, is currently recognized in the academic field and more areas of knowledge than ever adopt these innovations(Alvarez Giraldo &Navarro, 2017).In addition to all these technological innovations in scientific research of the documentary, we must add the need for a committed and political conscience that guarantees critical conclusions neededafter the visual record.If we consider the participatory role of theresearcher, especially with the use ofcameravideo as aresearch tool, the ethical dimension is particularly relevant, as well as the commitment toits research objectives. Videography is positioned within more significant ethnographic debates concerning about how objectivity and subjectivity are conceptualized, and the call for ethnographies to be formulated as multi-vocal texts and ‘reflexive mirrors’ rather than objective data (Ruby, 1982). Videography understands and uses the video as a tool to re-orientate the power of the researcher gaze and to give voice to research subjects/participants. (Jewitt, 2012, p. 3) Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 130 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras Image appearedin the early days of Anthropology,althoughthis discipline was an academic field traditionally dominated by the word.Image was a tool to collect information and did not function as a testimony or as a mnemonic archive. Nowadays, the sensory acquisition of the main subjects of research becomes more important than the systematic collection of descriptive data. Despite the growing recognition of the value of the visual, only in the seventies, the image was recognized academically (Dion, 2007). Even though this scientific cinema had a more distant past. For example, Malinowski (1884-1942) and Flaherty (1884-1951) promoted ethnographic exhibition cinema.In the field of descriptive visual anthropology, Regnault, Medaand Bateson (Febrer, 2013, p. 728)stood out. In the 1950s, Jean Rouch’s (1917-2004) work inspired a new generation of anthropologists who would later promote contemporary visual anthropology. Currently,visual methodsarefully recognized (Pink, 2006) and interdisciplinary works enrich each other. With the technological development of devicescaptureand the invention of other narrative forms in the interpretation of the images, social research/progresses by studying audiovisual practices that go beyond an artistic activity based on the photo and the video (Ibanez, 2006). Visual methods are the heirs of Visual Anthropology, which means that the image is studied as an object and the visual is used as a research method.It would bea lack of vision to consider only the function of the image and not the observer experience about the research object.In Visual Anthropology, the image is an intrinsic element of the research method, which acts independently of the nature of the object it represents.Thus, a visual methodology is notbasedon stylistic analysis to generate knowledge relatedtoaesthetic value.This is an investigation withimages (Dion, 2007) that in our specific case is complicated becauseweapply it to the study of the documentary.Thevisual is method, object of study andprocess of creating images through the image. Visual Anthropology heritage Part of the difficulty of a visual study is the continuous adaptation of the researcher to choose an appropriate research technology.Anthropological research moves into virtual communities.This has led to the observation of social behaviours on the network and the analysis of communicative activities mediated by digital devices. Virtual ethnography has been developed by the need to adapt conventional methods to the object of digital culture and virtual communication. Digital media is a key element in our world. It is through them that we relate with others and even help us to understand ourselves. Thevideo camera places the viewer in the image, as the photographic had already done. However, unlike this one, it invites you to communicate with others through this medium or to observe yourself in it. This practice is already carried out as typical in films when couples express their feelings through live recordings or projecting each other. This medium of presence is established in private hands that are no longer restricted to the old status Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 131 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras of a medium o memory, and which is also not subject to the temporal leap that previously separated all the images of its viewer. (Belting, 2007 p. 103) In the first studies on technology mediated communication, it was necessary totransporttraditional methods to the newtechnicalcontext(Hine, 2005).Due to the continuous technological evolution, this adaptation is still required, as well as rethinking the role of the researcherand the setting in whichtheirresearchtakes place.The fieldwork moves into the digital context and the researcher enters this virtual space to look for social relations and individual behaviours(Turkle, 1997). Media Anthropology studies communication using visual or digital tools.In the case of nonfiction film analysis, the Anthropology of the Media uses in the investigation the same procedures that intervene in the production of the investigated object: the observer is observed. We analyse thenonfiction film producing another film. Dickey (1997) and Spiltunikn (1993) have advocated anthropological research in media studies and, specifically, in the processes of representation and construction of imaginary.From newmedia questions in the 1990s, Visual Anthropology was legitimately integrated into communication research to explain the public reaction to the media (Dickey, 1997, p. 4). The Anthropology of the Media focuses on the relations between journalists andsources, human relationships thatsurroundthe information work and study contexts and forms ofreception.Virtual ethnography, which developsits work on the internet, causes the total relocation of the field of work, the dissolution of the space for study and therelocationof theresearcher.In short,hiswork is developed in the new scenarios created by digital technologies.According to Lemos (2008), this is not a confrontation between the “virtual” and “real”, butthemigration of the social production towards a space created by thenetworks,in which the experiences of physical places, objects and real people intervene. For the communication study, Goodwin (1993, 2000) highlights theobservation of visual phenomena and the processes of creating meanings.Gesturality and its recording in visual documents help tounderstand social realities.Inhis work, the analysis does not focus onvisual eventsinisolation, but on the systematic practices used by the participants in the interaction.Withits wayof analysis, it is possible to go beyond the interpersonal relations of audiovisual practices in the knowledge of a community. The computer-mediated communication and the academic recognition of cyberculture have helped to introduce a methodological versatility into ethnography (Hine,2005).Examples include the work ofFlores-Márquez on digital activism (2015);the union of physical and virtual territories (Lemos, 2008), Edgar GómezCruz’s work onselfrepresentation (GómezCruz, 2012) or the project“Selfie-stories and personal data: hybrid methodologies for the analysis of visual narratives in digital culture”1. From the postmodern anthropology model (Dion, 2007; Geertz, 1992), the notion of objectivity changes concerning the investigation and use of the image. The use and 1 Project information available at http://selfiestories.net Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 132 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras production of images were then considered a constructive negotiation between the subjects and theresearcher.Jean Rouch (1995)assumes the transformation of the role traditionally played by theresearcher,thecameraand the image presented,the interpretation and the participation of theresearcheras part of the research itself.Sarah Pink (2001) analysed the various possible uses of video in anthropology.Not allresearchersemploy itin the same way as somewho intend to produce edited videos. Pink defends the subjective dimension of the image that reflects sensory experiences. This is possible from the filming since the image can evoke bodily sensations differently from the word.Video is not onlyawayfor thecollectionof data, but an applied science that participates in thenegotiation of social relations,a means thatgeneratesknowledge for the ethnography(Pink, 2001, p. 138). In Rouch’s original approaches(1995), thecameraceases to be a distant object and becomes integrated as a participant in documentary action.The extraction of knowledge emerges from this immersion of thecameraand the observer in what is observed.Previously, it was onlycontemplated,and the observer took notes to explain the group’s actions.This is how he validated the data.Nowadays, the observer immerses himself with the camera as a participant in the social phenomenon to obtain information from collaboration and interaction. A collaboration provoked on some occasions when the process of creating images is offered to the subjects to represent themselves, or also to interact with images that are shown to them if these have already been recorded previously. For thisreflection weusedthe field of Visual Anthropology in a technological environment such as BancksandMorphy (1997);BanksandRuby (2011);CollierandCollier (1986);Hine (2005, 2015);Hockings (1995);Ibanez, Chabert, Lamboux-Durand and Wanono(2017);Pink (2001, 2006);Rouch (2003);Ruby (2000). These authors advanced in the documentary narrative with the combined use of photography and video in early works, and then with hypermedia and the use of different technological devices. Also, they have accomplished the integration of visual and digital technologies in an ethnographic study, among which we can highlight hypermedia (Ibanez, 2006). The role of the observer andhis connection with the camera determines the relationship that is built with reality and, in this case, with the object of study.Lallier (2009) considers more relevant the relation between the filmed and who films in research andthe useof movement andspace in the filmed and those who film: “the sequence filmed comes from the social relation between theobserver and the people filmed”(Lallier, 2011, p. 107).According to Lallier (2011), the ethnography filmed is different fromthat which iswritten, since the reciprocity with the studied situation is very close.Theethnofilmmakergets involved, takes part in the action, does not remain as a strange element that does not intervene;there isa personal involvement of theresearcherwith the event or situation observed.Lalliercalls this practicefilmed-observation.With this, he defines a different type of practice for the field of social research, asdoestheparticipant observation. Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 133 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras Proposal of an interactive audiovisual methodological model for research on the audiovisual documentary Our proposed visual methodological model is based on a triangulation of the following complementary techniques: visual analysis, participant filming and interviews. In the ethnographic approach, triangulation is typical: observation, interviews, document analysis and other forms of combined data collection (Flick, 2015). According to the author, case studies are often carried out in ethnographic investigations in which various methods and devices are used for data collection. We designed this methodological model for the study of the documentary and applied it to three case studies that were in the production phase. In all three cases, the video was used as a research tool to directly record different creative stages during the production of documentaries, as well as the final result between what was filmed and the interpretation obtained from the representation. To complete the triangulation, we conducted interviews with the directors of the three documentaries. The last technique aimed to access information that we could only obtain through direct relations with the creators. They provided subjective information without contamination by other external factors about their way of understanding the creative process, their opinion about the contributions of the technologies according to their professional experience and a reflection about the communicative success about the representation and the represented. For this, we rely mainly on the work of Bruhn (2002), Flick (2011, 2015) and Mann (2016), about the interview as a method of research in communication. Ethnography is an approach to study groups and processes in their natural environment, which requires the flexible use of methods and much patience in the field. The data may be less systematic than in other methods, but it can be more holistic in the descriptions that make it possible. Therefore, the generalization here is generally more internal – in the context –than outside the study sites and fields.(Flick, 2015, p.130) In the outline of Figure 1, it is possible to see how we applied the combination of these methods, with which we were able to approach our object of study from three different perspectives: the final work, the construction of the representation and the author’s point of view. Figure 1: Methodological triangulation scheme and the approaches of each method to the object of study Credits: Alba Marín and Fernando Contreras Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 134 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras The case studies were selected according to their formal characteristics and their ability to adapt to the time requirements of our research. Among the three cases, they should cover the main digital formats, the inclusion of the user, serials to allow to know the quality of a piece already published and be in the production phase of another chapter or documentary of the series. The documentary La Primavera Rosa (Mario de la Torre, 2016-2018) is conceived as a media project with several chapters, of which four had already been published and a fifth was in progress. These four chapters had a differentiating element that made them ideal for the study: a different format in each chapter, complementarily to the linear audiovisual. The documentary Las Sinsombrero (Tania Balló, Manuel Jiménez and Serrana Torres, 2015-2019) is one of the reference documentaries of Spanish production in recent years, due to its expanded nature and innovation in its format, especially the webdoc and the use of social networks. Moreover, its webdoc includes three levels of interactivity that we consider especially interesting to analyse, as it is not common to find them in the same work. Hors-Cadre (Martín Charrière, 2017-2019) is a nonfiction virtual reality series that currently has four short films and that we use as a reference example for the immersive documentary, a subgenre still emerging. The format of the visual analysis model The perspectives of the history of images and media are only justified when they are not mutually discarded. The visual perspective of Anthropology focuses on the praxis of the image, which requires a different treatment from image techniques and their history (Belting, 2007). The analysis uses case studies which, in our research, consisted of a sample of documentaries. We tried to analyse the elements that come into play in the creation of the audiovisual documentary. The analysis model initially requires the classic categories of films and the audiovisual narrative analyses proposed by Barthes (2002, 2017); Belting (2007); Bordwell Casetti e di Chio (1991); Derrida and Stiegler (1998); Gaufreault and Jost (1995); Gifreu Castells (2013); Köster (2005); Nichols (2010) or Plantinga (2014). To conclude the analysis proposal, we add specific categories of transmedia or immersive works. At this point, we emphasize that this analysis has to be made from a deep involvement of the researcher, since many of the works are immersive, personalized or participatory, and the analysis is made from the complete experience. Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 135 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras Category Description level 1 Description level 2 Context Description of the work Synopsis Technical data Formal categories Visual codes Graphic codes Sound codes Movement Composition Textual elements Nature and use of sound Categories of representation Edition Space composition Temporality composition Dimensions of the narration Enunciation marks Structure of the report Point of view/ocularization Spectator inclusion Interactivity Participation Customization Immersion Expansion of story Levels and nature Medium/image/use relation Formals specifications Function of the image Final description of the personal experimentation of the work Table 1: Analysis model for post-documentary How to apply videography in a practical research case During the days of recording documentary films, we introduced the camera interactively. This interaction was designed to take advantage of those results that can only be provided by participant observation. The camera and the filming process were integrated into the same production of the documentary we studied (Rouch, 2009). We also sought to incorporate Lallier’s visual anthropological approach (2011) and his filmed observation: the filmed observation does not merely consist of watching it with a camera, as if the use of a device alone would determine a field practice. (...) Filmed observation does not belong to writing itself or a simple recording technique, but to a social practice: a unique way of dealing face to face with the object of our representation. (Lallier, 2011, p. 105) Jewitt (2012) establishes a differentiation in the application of video to research, distinguishing between participatory video and videography. Participatory video is an intervention process in which participants have access to recording and/or editing tools to create their own vision of the subject of study. In the application of videography, we find collaborative forms of research very close to collaborative documentaries and individual forms closer to the filmed journal. Videography is generally used to deepen cultural and social issues through audiovisual creation: either since Visual Anthropology (Collier, 1995; Collier & Collier, 1986) Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 142 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras From our methodological guidelines, the researcher inevitably assumes an active role and, therefore, we see no inconvenience in his presence in the image. However, we are aware that it is a practice that must be considered in each case study if it plays a role in the research. The presence of the device itself alters what is filmed and, aesthetically, we should not forget that the main objective responds to the research criteria. Conclusion We proposed an ethnographic approach based on the use of videography. This model addresses the complexity of audiovisual productions in gathering information and documenting social research. Specifically, our methodology was designed to investigate the creative process of documentaries. To elaborate this proposal, we had to recognize different factors to other methodologies such as the inclusion of the researcher in the making of ethnographic audiovisual material, the new narrative modes of audiovisual scientific narrative or the movement of the viewer in immersive contexts. The use of an ethnographic approach in communication, the knowledge of the audiovisual media and the work articulated with data of a different nature (image, audio, video, text) increase the wealth of information obtained in the study of the documentary. To this methodology, we integrate the case studies and the interaction with the research subjects. At the same time that we obtained and recorded the data for the study of the documentary using an anthropological approach, we obtained material to create an audiovisual work as part of the same production process. The result is an investigation characterized by the “goal” element since it is the researcher’s gaze through the image ascending an audiovisual work. The production carried out as part of the research includes a prototype of audiovisual creation. The incorporation of the complexities associated with visual polysemy poses a challenge for communication researchers who must have the ideal training to take advantage of the possibilities of these tools. We faced the difficulty of systematizing audiovisual methods, derived from the customization associated with their use and the lack of audiovisual training as a tool for social research. We, therefore, believe that, although we are not in an unexplored line, further development of these aspects is needed for communication research. We tried incorporating 360 degree video into the research. Its right role in future research on communication has yet to be defined. The technical characteristics of the device suggest its complementary use to the video camera of a maximum of 180 degrees. The data obtained from both registers are not repeated because the respective mode of use and visualization have different characteristics that make them complementary. After the first experience with this device, we consider it interesting to continue the path of exploration and experience in different situations to find the right context for its use. The analysis of a filmed material opens scientific research to immersive environments. This implies developing other working methodologies that focus not only on the time of data collection and interaction with the subjects involved but on the subsequent Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 143 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras analysis of the image. An analysis of the data collected on video includes particular procedures. In our study, the main quality of 360 degree video in ethnographic fieldwork does not reside in the time of filming, but its visualization and analysis. With the correct editing process, the researcher can return to the filmed space and study different elements and moments in parallel. The revision phase takes on a new dimension, since the researcher does not return to his own gaze in the audiovisual record, but his gaze returns to the stage. Although we have indeed faced the limitations of exploration and video movements, we must value in this type of scientific work: the relation between the technological device and the researcher, the temporality of reality and the time of the machine, the space of work and the space of analysis, the role of the camera and the role of the researcher. Translation: Alba Marín References Álvarez, G. M., Giraldo, M. & Navarro, C. (2017). Uso de TIC en investigación. Katharsis, 23, 239-258. https:// doi.org/10.25057/25005731.873 Arora, G. & Mikl, C. (Directors). (2015). Clouds over sidra [Web-documentary]. USA: Within. Bal, M. (2016). Tiempos trastornados: análisis, historias y políticas de la mirada. 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Anthropology Now, 9(1), 34-47. https://doi.org/10.1080/19428200.2017.1291821 Vila-Guevara, B. (Director). (2016). Belén [Documentary]. Venezuela – Spain: Secuencia Cero Films and Crater Producciones. Biographical notes Alba Marín Carrillo is lecturer at the Communication Hypermedia Department of the University Savoie Mont Blanc, France. Qualified Maître de Conférence in Information and Communication Sciences, holds a PhD in Communication from the University of Sévilla and the Grenoble Alpes University Community. Master in Communication and Culture and Bachelor in Journalism (US). ORCID: https://orcid.org/0000-0003-0285-7086 Email: [email protected]; alba-maria. [email protected] Address: Rua du Sergent Revel, Jacob-Bellecombette, 73000 Chambéry Cedex, France Revista Lusófona de Estudos Culturais / Lusophone Journal of Cultural Studies, vol. 7, n. 1, 2020 147 The new research techniques in visual communication: a methodological proposal of videography . Alba Marín & Fernando Contreras Fernando Contreras Medina is Lecturer in Communication at the Department of Journalism I, Vice Dean at Faculty of Communication, University of Sévilla. PhD in Communication, PhD in Philosophy and BA in Fine Arts. ORCID: https://orcid.org/0000-0003-1105-5800 Email: [email protected] Address: Américo Vespucio, s/n, La Cartuja, Sevilla, Spain Submitted: 05/09/2019 Accepted: 31/11/2019