ABSTRACT
This chapter focuses on the generative affordances of critical video research methods and the emergence of Critical Videographic Research Methods (CVgRM) as a sub-group of this set of methods. Two videographic methods: unedited documentary and video elicitation, are introduced. A methodological assemblage of prismatic and diffractive interference metaphors invokes the subjectivity and cultural entanglement of teachers working within this historical period of ‘9/11’, explaining how teacher’s professional lives and work are unfastened in the post-‘9/11’ context. We conclude by arguing that CVgRM is highly significant to the development of classroom and educational research, but hold that in light of the ‘pictorial turn’ (Mitchell, 1995), the very visibility of these methods requires ongoing scrutiny of what is presented as knowable in respect to teachers’ work and doing educational research.
