The purpose of this article is to critically examine videography in the repertoire of visual approaches and delineate a positioning that would be distinctive, inspiring and daring. Notably, we advocate for alternative video-based approaches that expand the field beyond the dominant 'representational mode' by embracing the evocative power of video, and it is only in this way that videographic research could emerge into a self-standing research method without falling under other representational orders of analysis such as being read 'like text' or frozen into photographic 'stills'. In so doing, we develop an image of thought of consumer videographies, where the affective forces of video are harnessed towards 'theorizing' in an emergent rather than descriptive form.