The Colonial Revival house is an unavoidable context in cinematic and televisual representation. The ubiquity of Colonial Revival architecture – in the American landscape and in film and television – means that as a signifier it is both too empty and too full; there would appear to be too little and too much to say about this subject. The problem of Colonial Revival architecture itself is that it is an architecture of surfaces, appearances, facades, exteriors: it is a skin, the skin, we might say, of national fantasy. For not only is the term Colonial Revival in architectural history a loose, floating, perhaps even radically empty signifier (empty perhaps – as well – because overfull with too many contents), in actual architectural materiality, the term names the look of a house's exterior but indicates very little about the disposition of its interior spaces.

In a book dedicated to thinking about the house in American cinema, I have argued that when we look at houses on screen we are looking at what I call a ‘spectacle of property’. Whatever the nature or style or dimensions of the houses we see on-screen, when we look at a cinematic image of a house, we are in thrall to and enthralled by property, its images and its image-ness (Rhodes 2017). Cinema turns cinemagoers into shortterm tenants, whom I call ‘spectator tenants’ – subjects who (in the traditional context of theatrical moviegoing) ‘pay for the right to occupy a space in order to gaze up at a space they can never occupy’ (Rhodes 2017: 13 [italics in original]). This looking is structured slightly differently and receives different inflections according to the style of architecture that is being looked at. In the case of Colonial Revival architecture, an architecture of ubiquity, we seem to be looking at the omnipresent and inescapable nature of the property relation itself, a relation that houses and structures our intimate relationship to capitalism. Moreover, this architecture's emptiness, the lack of connection between its surfaces and its interiors, its malleability, plasticity, nominalism of reference and endless iteration (it is a ‘revival’ style, after all) mean that its architecture and moving images provide refracted but highly concrete embodiment of the endless fungibility of property relations in twentieth-century capitalism.

We explain the concept of dilemmas and how they underpin the logic of interpretive comparison. Existing work in interpretive theory refers mainly to ‘Big-D’ dilemmas that focus on ideational conflicts between traditions such as the clash between neoliberalism and state ownership. We add the notion of ‘small-d’ dilemmas that focus on the everyday, the routine and the mundane, choices, ‘court’ politics and realpolitik. We suggest that empirical, comparative, interpretive social science research revolves around the process of identifying the dilemmas that actors experience and the ways they respond to them, and puzzling about whether they vary according to the traditions in which they are situated. We suggest rules of thumb for identifying dilemmas.

We outline briefly the difference between naturalism and humanism before providing a summary of our key concepts of decentring, situated agency and plausible conjectures. In effect, we set the theoretical scene for the rest of the book and the underpinnings for comparative analysis based on dilemmas. We challenge the naturalist mantra of ‘different tools, shared standards’ and provide an alternative account of what constitutes valuable and rigorous interpretive research. We set out a new set of criteria by which interpretive comparative work should be assessed and towards which interpretive comparative researchers ought to strive. We focus on accuracy, openness and aesthetics. We show that not anything goes in comparative interpretive research.

The chapter introduces the idea of creative intuition and interpretation before summarising the book's contents. At the heart of this book is the idea of comparative intuition. People in general, and social scientists in particular, are engaged in ‘constant comparison’. Comparison is what enables us to make sense of events as they unfold across time and space. Interpretive research offers a distinctive approach to the comparative intuition because it consciously offers interpretations of interpretations. This chapter has five substantive sections. First, we outline our basic argument for a consciously and explicitly comparative interpretive approach. Second, we provide a brief summary of the interpretive approach. Third, we seek to justify the rigour and sensitivity of a comparative interpretive orientation. Fourth, we foreshadow in greater depth the structure of the book and detail of its component chapters. Finally, we provide guidance for readers on how to use the book, and in particular on how to combine its insights with those stemming from canonical texts in the field.

We explain, and illustrate with examples drawn from our own work, how interpretive researchers analyse comparative data. We argue that a comparative project compounds the uncertainty, confusion and paralysis that can set in when confronted with a 'mountain' of qualitative data. We argue it is not possible to 'somehow capture' this full complexity. We outline and defend the need for a consciously impressionistic orientation to data analysis. Rather than searching for a ‘Eureka!’ moment that confirms or refutes a narrow theory (in naturalist mode) or makes sense of the whole picture (in idiographic mode), a comparative focus on dilemmas enables the use of a kaleidoscope of different analytical lenses and tools to explore complex specificness in context. We outline rules of thumb for helping along the way.

In the Retrospective, we turn our methods back on our own book and ask, ‘what are the dilemmas of using the approach we advocate?’ It is an exercise in professional reflexivity as we reflect on the personal dilemmas that we navigated in writing this book. We ask, ‘what are the dilemmas of using our comparative approach?' Also, we impress upon the reader the merits of our approach by summarising the key terms of both the interpretive approach and our comparative interpretive approach. It is a short cut for those who like to skim books before reading them.

We outline the place of fieldwork in comparative interpretive research. Detailed qualitative fieldwork is central to most interpretive research, but practical guidance on how to navigate the field remains rooted to the idiographic tradition. The presumption is one of sustained immersion in a discrete setting. Interpretive comparison, however, necessarily requires partial immersion across multiple sites in shorter, more interrupted bursts. We call this yo-yoing. Crucially, the researcher must be alert to the surprises and moments of epiphany that can challenge initial assumptions and open new possibilities. We seek here to develop and illustrate key ‘rules of thumb’ that will enable researchers to manage the challenges and maximise the opportunities.

We look at the craft of writing. Although we discuss the challenges of writing that confront all social scientists, we focus on the dilemmas of writing up comparative interpretive research – dilemmas which we confront because we speak to a broader range of audiences. In doing so, we highlight the importance of seeing writing as integral to the research process, not something that starts once the research is done. We identify the rules of thumb for writing both linear and evocative narratives and discuss the dilemmas encountered in both approaches.

We look at how to design a comparative interpretive project and tackle the perennial case selection question. The problem here is one of justifying unorthodox comparison: a lot has been written on comparative case selection from a naturalist perspective, but this language is often an uncomfortable fit for interpretive projects. We argue that case selection is not something that is designed into a project from inception. For interpretive research, it changes as we go. We therefore suggest different strategies of case selection for different phases of a comparative interpretive project. We identify rules of thumb to guide design choices as the project or programme evolves.