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Arthur Holland Michel
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Criminology and Criminal Justice. Please check back later for the full article.
As we find ourselves bearing witness—even in our own backyards—to what is increasingly being referred to as the “drone revolution,” it might be a good time to turn our attention back in time and figure out how, exactly, we got here.
The large-scale use of drones for national defense and law enforcement is a relatively recent development, but unmanned aerial surveillance draws from a doctrine that is as old as flight itself. Though the fundamental logic of aerial surveillance has remained the same—to put an eye in the sky so that one may look down upon one’s enemies—the technology has evolved dramatically over this period, driving shifts in aerial surveillance theory and practice. New technologies enable new techniques that in turn inspire new ways of thinking about how to spy from the sky, and produce new experiences for those being watched. Our drone revolution, also known as the “intelligence, surveillance, and reconnaissance (ISR) revolution,” is the result of this process played out over an entire century
The aerial spying efforts of the United States military and intelligence community have a particularly long and influential history, beginning with the Union Army’s manned observation balloon corps of the Civil war. Our story begins, in earnest, with an automatic camera-equipped biplane on a mission to track German positions along the Hindenberg Line in 1917, through the CIA’s little-known—and radically forward-thinking—Samos spy satellite program of the late 1950s, and up to the adoption of drones over Bosnia in the 1990s. Together, these episodes show how we got the core principles that define aerial spycraft (that is, how to find and watch “the bad guys”) in the 21st century: cover as much ground as possible; process and disseminate what you collect as quickly as possible, ideally, as close as you can get to “real-time”; and be as persistent as possible.
The drones and high-resolution aerial cameras that are finding their way into the tool-kits of police departments will bring these principles along with them. Even if the growing numbers of law enforcement officers now using this technology aren’t fully aware of the long legacy of aerial surveillance that they are joining, the influence of this formative history of surveillance on their aerial crime-fighting operations is evident. And just as aerial surveillance transformed the battlefield, it will have a similarly profound effect on the experience and tactics of those operating the cameras, as well as, crucially, those individuals being watched by them. By grasping this history, we can better understand not only why and how drones are being used to fight crime, but also what to expect when every police department in the country owns an eye in the sky.
Faye S. Taxman and Alex Breno
Alternatives to incarceration are more than options, they have evolved into sentences of their own accord. Originally, probation and prison were the two major sentences; however, the concept of intermediate or graduated sanctions emerged in the 1980s and evolved throughout the 1990s. While alternatives to incarceration were considered options, they are now recognized as intermediate sanctions, graduated sanctions, and just plain sentencing options. This emergence occurred during the time that probation-plus-conditions sentences spiked, so that the average probationer now has over 17 standard conditions. With Justice Reinvestment Initiatives as a national effort to reduce the impact of mass incarceration policies, the JRI policy effort the has served to legitimize sentences that used to be considered “alternatives” by incorporating risk/need assessments, legislation to reduce sentence lengths and incarceration sentences, and changes in practices to address noncompliant probationers and parolees. Here, a new conceptual model is proposed that integrates sentencing options with results from a risk and need assessment depending on various types of liberty restrictions. Given the need to reduce prison overcrowding, there is an even further need to examine how different sentencing options can be used for different type of individuals.
David Ray Papke
A large amount of American law-related popular culture is comedic. Inexpensive literature, Hollywood movies, and prime-time series routinely include images of amusing lawyers and accounts of hilarious trials. These pop cultural works entertain readers and viewers and in some instances simultaneously speak to the public’s resentment of powerful legal institutions.
The American trial and American cinema share certain epistemological tendencies. Both stake claims to an authoritative form of knowledge based on the indubitable quality of observable phenomena. And both are preoccupied with sustaining the authority that underlies the knowledge produced by visual perception. The American trial and cinematic form also increasingly share cultural space. Although the trial film (otherwise known as the courtroom drama) is as old as the medium of film, the continuing popularity of the legal drama centered on a courtroom verdict suggests more than a trend. The inherent affinities between law and film not only produce enduring and memorable stories about law and justice but help constitute a popular legal consciousness that sustains the authority of the rule of law in the United States. This article describes these affinities in more detail, tracing the common themes in trial films, the special case of trial film based on true stories, and the future of the genre in American popular culture. It concludes by reviewing the disciplinary approach to the study of law and visual popular culture.
Fakes and forgeries are topics of frequent and agitated discussion in the art world. For criminologists, this interests shifts to art fraud because of its fit with issues of non-authentic art. While fraud shares with the wider interests the need to demonstrate deception (an obvious aspect of a fake), a successful prosecution will require in addition that the defendant be shown to be dishonest (that is, that the deception is intentional), that there is harm as a consequence, and that the victim was actually deceived. Despite its popularity as a topic for discussion in the art world, actual cases of art fraud are exceptionally rare, although cases of “mistaken identity” are reasonably common (but these will often lack the deception and intentionality required of fraud). Among the reasons for art fraud being infrequently observed appear to be: (1) police are less than eager to pursue issues of fraud in art; (2) the deceptive skills required of a successful art faker are actually rarely observed or achieved; and (3) the role of the victim in art fraud is complex and often renders victims either passive or non-compliant with the justice process.
Bank robbery is an uncommon, but highly fascinating, type of crime. The media often focus on bank robberies, especially if an event was violent or involved weapons. However, data show that bank robberies are generally uneventful—rarely involving weapon fights or injured bystanders. Instead, perpetrators tend to use verbal or written commands to obtain their money. Movies and video games depict the unusual bank robberies, which are violent and deadly because they are exciting and action-filled, which appeals to the public. Although generally a misrepresentation of empirical reality, media depictions can highlight criminological theory in action and bring to light issues around impulsivity, thrill-seeking, brain development, group behavior, and the behavioral consequences of social strains.
In contemporary society, “closure” refers to “end to a traumatic event or an emotional process” (Berns, 2011, pp. 18–19)—and, in the more specific context of capital punishment, controversy over what, if anything, is needed for murder victims’ families to attain healing and finality or move forward with their lives, including the execution of their loved one’s killer. The term is highly politicized, and is used by both death penalty advocates and its opponents to build arguments in favor of their respective positions. Closure has been indelibly linked to both capital punishment and media institutions since the late 1990s and early 2000s. The media’s penchant for covering emotional events and its role in informing the American public and recording newsworthy events make it perfectly suited to construct, publicize, and reinforce capital punishment’s alleged therapeutic consequences. Legal and political officials also reinforce the supposed link between closure and capital punishment, asking jurors to sentence offenders to death or upholding death sentences to provide victims’ families with a chance to heal. Such assertions are also closely related to beliefs that a particular offender is defiant or lacks remorse. Surprisingly, however, the association between closure and capital punishment has only recently been subjected to empirical scrutiny. Researchers have found that victims’ families deem closure a myth and often find executions themselves unsatisfying, provided that a perpetrator does not enjoy high media visibility so that the execution has a silencing effect, as did Oklahoma City bomber Timothy McVeigh’s execution by lethal injection in 2001. Recent empirical examinations of the link between capital punishment and closure prompt a redefinition of closure through which victims’ family members learn to cope with, work through, and tell the story of a murder and its impact. This redefinition is less sensational and thus perhaps less newsworthy, which may have the salubrious effect of discouraging extensive media emphasis on executions’ closure potential. Another way to decouple closure from capital punishment is for media organizations to change their practices of covering perpetrators, such as by not continually showing images of the perpetrator and by incorporating a more extensive focus on the victims and their families. While government officials have called for the media to exercise restraint in the wake of such events as the Oklahoma City bombing and 9/11, victims’ groups are now beginning to advocate for this same goal, with much success.
Thalia Anthony and Kieran Tranter
The car and crime become entrenched in the cultural imagination with the widely circulated images of the bullet-hole-ravaged Ford V8 that Bonnie (Parker) and Clyde (Barrow) were in when they were killed by Texan and Louisianan police in 1934. This couple of outlaws (and their gang) had kept newspaper readers enthralled and appalled as they robbed, murdered, and kidnapped throughout the Midwest since 1932. The scope of their activities and their success in evading authorities, along with their crimes, which included many vehicle thefts, were facilitated by the mobility of the car. Before Bonnie and Clyde, car crime in the public consciousness comprised images of the foolish and antisocial behavior of the well-to-do car-owning elite. After Bonnie and Clyde, the famous image of their death car and the celebrity-making image of Bonnie as the archetypical gangster moll with cigar and revolver leaning over a stolen car, linked in the cultural imagination crime and cars as everyday through a visceral mix of bodies, sex, and violence.
In particular, the visceral imaginings of car crime after Bonnie and Clyde separated into four locations. All involved, to certain degree, bodies, sex, and violence, but distinct contexts and meanings can be identified. The first location is the imaging of car crime itself; of risky use of the car—speeding, dangerous driving, racing, drink driving—actions evidenced by carnage on the roads. There have emerged two frames for this location. The first is the serious and deadly context of the usually male driver fueled by “combustion masculinity” taking irresponsible risks with bloody consequences. The second is the humorous, over-the-top risky, subversive, and illegal car-based activities, a frame tapped into by television shows like Top Gear (Klein, 2002–2015) and Bush Mechanics (Batty, 2001) and manifest in the car chase trope. The second location is the car as a crime scene. From JFK’s assassination in a Lincoln convertible, to the car as site of sexual assault, to the illicit imaginings of the goings-on in a VW microbus, the car is a place in which crimes happen. The car is seen as constructing an internal geography in which crimes occur. The third location has the car as a facilitator of criminal activity. In the road buddy narrative from On the Road (Kerouac, 1957) to Thelma & Louise (Scott, 1991) the car becomes the outlaw’s mechanical horse facilitating a crime spree and evading arrest. At the fourth location, the car became imaged as property, the car as a crime object. From Gone in 60 Seconds (Sena, 2000) to the advertisements of the vehicle insurance industry, the car became conceived as vulnerable property, the target of theft. While distinguishable, each location is not segmented in the cultural imagination, but, as role-played by gamers in the Grand Theft Auto computer game series, cross and coexist. Now well into its second century, the car, notwithstanding contemporary transformations, nurtures a vivid imagining of its culture gone wrong.
Shanna R. Van Slyke and Leslie A. Corbo
Consumer fraud is the intentional deception of one or more individuals with the promise of goods, services, or other financial benefits that either never existed, were never going to be provided, or were grossly misrepresented. In contrast to ancient times when consumer fraud and other white-collar crimes were considered to be at least as serious as violence and other street crimes, today’s consumer fraudster tends to be viewed as less dangerous and deserving of harsh sanctioning. Despite several social movements against consumer fraud and a proliferation of popular and scholarly literature on the topic, contemporary U.S. society has maintained a relatively lenient stance toward white-collar crime—a “soft on crime” position that is inconsistent with conservative “tough on crime” approaches that have dominated U.S. penal policy since the 1960s.
Lisa A. Kort-Butler
Content analysis is considered both a quantitative and a qualitative research method. The overarching goal of much of the research using this method is to demonstrate and understand how crime, deviance, and social control are represented in the media and popular culture. Unlike surveys of public opinions about crime issues, which seek to know what people think or feel about crime, content analysis of media and popular culture aims to reveal a culture’s story about crime. Unlike research that examines how individuals’ patterns of media consumption shape their attitudes about crime and control, content analysis appraises the meaning and messages within the media sources themselves. Media and popular culture sources are viewed as repositories of cultural knowledge, which capture past and present ideas about crime, while creating and reinforcing a culture’s shared understanding about crime.
In content analysis, media and popular culture portrayals of crime issues are the primary sources of data. These portrayals include a range of sources, such as newspapers, movies, television programs, advertisements, comic books, novels, video games, and Internet content. Depending on their research questions, researchers draw samples from their selected sources, usually with additional selection boundaries, such as timeframe, genre, and topic (e.g., movies about gangs released from 1960 to 1990).
There are two primary approaches to conducting content analysis. In quantitative forms of content analysis, researchers code and count the occurrence of elements designated by the researcher prior to the study (e.g., the number of times a violent act occurs). In qualitative forms of content analysis, the researchers focus on the narrative, using an open-ended protocol to record information. The approaches are complementary, as each reveals unique yet overlapping concepts crucial to understanding how the media and popular culture produce and reproduce ideas about crime.