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Robert I. Mawby
While the term “defensible space” is widely referenced in literature on situational crime pre vention and Crime Prevention Through Environmental Design, it is commonly mentioned in passing, almost as an historical landmark, with its relationship to more recent work assumed rather than rigorously examined. Yet, Oscar Newman’s work bridged the gap between criminological theories and preventive approaches in the pre-1970s era and the more grounded and policy driven approaches that are common today. Consequently, this article looks at the context within which Newman developed his ideas and revisits his core work. It then considers the initial response from the criminology and planning communities, which focused on the methodological and theoretical weaknesses that undermined what were, essentially, a series of imaginative, exploratory propositions about the influence of design on crime patterns. In this sense, it is clear that Newman both provoked and inspired further research into the relationship between urban design and crime, and indeed, between crime, crime targets, and space, looking at the specific influence of design, technology, social engineering, and so on. Terms such as ownership, visibility, occupancy, accessibility, image, and juxtaposition, which Newman used, are now incorporated into more sophistical theories of situational crime prevention. This article thus offers a reanalysis of defensible space in the context of later refinements and the application of Newman’s ideas to current policies.
Frank Vitaro and Richard E. Tremblay
Traditionally, the term targeted prevention refers to interventions designed to prevent the development of adjustment problems in individuals by reducing risk factors or by implementing protective factors identified in studies of human development. Because risk and protective factors vary with development, a developmental perspective is necessary in order to identify which factors are most relevant at each period of life, based on well-defined and empirically supported etiological models. Moreover, because prevention strategies vary greatly depending on the factors that are targeted at different developmental periods and ages, a developmental perspective suggests that they need to be shaped accordingly. A further expansion of the concept of developmental targeted prevention includes the notion of “stepwise continuous prevention” for the extreme cases who do not revert to normative behavior during a given developmental period. This notion draws on the chronic-disease model of conduct problems and encompasses several developmental periods. The current debate around these issues is important as they apply to the prevention of conduct problems in youth by targeting risk factors during maternal pregnancy, early childhood, childhood, and adolescence. A consensual view of developmental targeted prevention is, however, necessary for prevention efforts to be coordinated and fruitful.
Documentary films have significant appeal because of their claim to represent truth and authenticity. Within the criminal justice system, they are important not only because of the public fascination with crime and punishment, but also because the everyday workings of the criminal justice system often remain outside of the direct experience or sight of most people.
There have been major stages in the technical and institutional development of documentary film. In its early years, actualités, short shots of realistic events, illustrated the new technology. As rudimentary narrative forms emerged, real events, including crimes, were recreated on film for paying audiences. Fiction films soon came to dominate and documentary was relegated to a supporting role, particularly in the form of newsreels that offered news and features prior to movie presentations. It was during the late 1920s and 1930s that the potential for film, including documentary, came to be recognized as a potential medium of state power. This was most notoriously seen in Nazi Germany, but also more benevolently in New Deal America. In the United Kingdom, John Grierson’s documentary movement spearheaded the use of documentary in workplaces, professional clubs and institutions as a means of promoting state sponsored social improvement. State control remained important during the Second World War and the subsequent period of reconstruction. The growth of television and the development of portable cameras and sound equipment opened up a new approach in the late 1950s and 1960s. Cinéma-vérité and direct cinema not only brought about stylistic innovations, such as hand held camerawork, but also took the filming into new spaces and offered a voice to previously unheard people, reflecting the social upheavals of the age. This approach became more widespread as a stylistic trope, but its original political purposes waned. Since the 1980s, the documentary field has become more diverse and fragmented, as a result of deregulation and the expansion of media markets, and the greater accessibility of equipment. Popular documentary on large network channels has often focused on entertainment, leading to new forms of infotainment. In contrast, there has been more opportunity for critical voices to be heard that contest dominant ideas. Throughout these eras, documentary has featured and responded to crime and criminal justice within the context of broader social change.
The evolution in documentaries about crime and criminal justice has, in particular, been shaped by three factors. The first is the role of individual agents, such as prominent filmmakers whose work has stood the test of time or has influenced the field. Second, there have been institutional factors, including the technology of film, notably the development of more portable and affordable equipment, but also there have been changes in the production process including sources of funding and distribution. The third factor is ideology. Cultural products, including documentaries about criminal justice, are created and consumed within a contested ideological context, and their meanings or significance can only be understood by reference to that context. As a result, these documentaries are important means of understanding the criminal justice system and the wider social context in which they are situated.
Dimitri A. Bogazianos
While criminological analyses of drugs and popular culture often focus on media constructions of drug scares and epidemics, they also draw from a wide range of interrelated influences, including critical theory, cultural studies, feminism, and critical race theory, among many others. Given that current trajectories of hypermediated cultural production in a post-crack drug landscape is unlikely to change anytime soon, ever more fine-grained analyses will be needed in order to make sense of the inextricable links between drug-related representations, crime policy, and social justice. Future scholarship in this area will continue to draw from its rich heritage as well as innovate new methodological and theoretical emphases that pay closer attention to the nontextual elements of popular cultural forms.
Carole Gibbs and Rachel Boratto
Environmental crime is a complex and ambiguous term for several reasons. It is sometimes used as an umbrella term for crimes related to biodiversity, wildlife, animals, natural resources, hazardous waste, banned substances, and environmental quality, but scholars have also developed typologies to capture the unique dimensions of each form of environmental crime. Disagreements regarding whether to distinguish violations of environmental laws (addressed via civil prosecution or administrative actions) from environmental crimes (criminally prosecuted), and whether to also consider environmental harms (legal activities that harm the environment) or environmental risks produce further confusion. The range of offenders also complicates this concept, as individuals, groups/networks, and powerful organizations commit environmental crimes. The degree of harm created by each actor may, or may not, be equivalent.
Given the complexities of this area of study, scholars have developed and/or tested a wide range of theoretical perspectives on and interventions to address environmental crime. Consistent with conceptual disagreements, these theoretical frameworks and corresponding interventions vary (arguably the most) based on whether the dependent variable is environmental crime (as defined by law), or environmental harm or risk defined using other criteria. However, multiple theoretical perspectives/interventions are also examined within research on these broad categories of environmental crime, harm, and risk. In order to capture the breadth of research on environmental crime, we narrow the focus of this article to pollution related crimes (e.g., hazardous waste, banned substances, environmental quality). In the following article, we offer further detail regarding conceptual discussions, legal complexities, types of offenders, types of crime, and research on this subset of environmental crimes.
Cara Rabe-Hemp and John C. Navarro
In the study of crime media and popular culture, researchers have a wide range of research methodologies at their disposal. Each methodology or standardized practice for producing knowledge involves an epistemological foundation and rules of evidence for making a claim, as well as a set of practices for generating evidence of the claim. The research methodology chosen is contingent upon the question being studied, as each methodology has strengths and weaknesses.
As the most stringent research design, experiments are unique because they are the only methodology able to establish causality. This is because experimental design’s major advantage is that researchers can control the environment, conditions, and variables that are being studied. However, experiments suffer from a major disadvantage as well: the precision and control utilized in experiments make it difficult to apply the findings to the real world, referred to as generalizability. This is especially poignant in crime media and popular culture studies where researchers are often interested in exploring how the criminal justice system, participants, and processes are socially constructed and how the mediated images impact our conceptualization of criminality and appropriate criminal justice system responses.
Stories involving false confessions can be emotional and moving, as they appeal to our innate desire for justice. As such, stories of false confessions can be powerful tools in books, films, and televisions shows. The way that a false confession is framed, and the context in which it is introduced to consumers (whether as readers or viewers) makes a big difference in how a false confession will be perceived.
In fictional stories in print or on screen, typically the viewer (or reader) has some sense of a person’s true innocence or guilt. In a television show, the viewer may have already seen a clip of the crime with the true criminal. Other musical or visual cues may also give viewers clues as to the true guilt or innocence of an individual offering a confession to a crime. Because viewers know, or will know, the true identity of the person who committed the crime in question, the use of an interrogation or a false confession (or both) can be used to demonstrate the moral character of the confessor. In exactly the same way, the use of a false confession in a fictional story can be used to demonstrate the morality of a police officer or even a whole police department. For example, a scene depicting the interrogation of a suspect that viewers know is not guilty may be used to demonstrate the use of immoral, coercive interrogation techniques by television detectives.
In nonfiction, the exploration of false confessions is often used to demonstrate the fallibility of the justice system. Because the idea that an innocent person would confess falsely to a crime that they did not commit seems incredibly counterintuitive to the average person, in-depth explorations (whether in documentaries, podcast series, newspaper or magazine expose, etc.) of the process by which false confessions can happen can be instrumental in helping people understand the reality of the phenomenon. The way a case or a confession is framed in the media and understood in popular culture also impacts our social construction of that person’s guilt or innocence.
Fear of crime has been a serious social problem studied for almost 40 years. Early researchers focused on operationalization and conceptualization of fear of crime, specifically focusing on what fear of crime was (and was not) and how to best tap into the fear of crime construct. This research also found that while crime rates had been declining, fear of crime rates had stayed relatively stable. Nearly 40% of Americans indicated they were afraid of crime, even though crime was declining during the same time period. This finding led researchers to study the paradox of fear of crime. In other words, why does fear of crime not match up with actual chances of victimization? Several explanations were put forth including a focus on vulnerability (e.g., individuals felt vulnerable to crime even if they were not vulnerable) and a focus on differences in groups (e.g., women were more afraid of crime than men, even though they were less likely to be victims). Thus, many studies began to consider the predictors of fear of crime. Researchers since this time have spent most time studying these fear of crime predictors including individual level predictors (i.e., sex, race, age, social class), contextual predictors (neighborhood disorder, incivilities, and social cohesion), along with the consequences of fear of crime (psychological and behavioral). Such results have provided guidance on what individuals fear, why they fear, and what impact it has on the daily lives of Americans. Future research will continue to focus on groups little is known about, such as Hispanics, and also on the impact of behavior on fear of crime. This future research will likely also benefit from new techniques in survey research that analyzes longitudinal data to determine causality between fear of crime and other predictors such as risk and behavior.
Kathryn Henne and Rita Shah
In response to the limitations of mainstream criminology, feminist and visual criminology offer alternative approaches to the study of crime, deviance, justice institutions, and the people implicated by them. Although feminist and visual lines of criminological inquiry have distinct foci and analytical strengths, they both illuminate disciplinary blind spots. Feminist criminology responds to criminology’s embedded gender biases, while visual criminology challenges criminology’s reliance on text and numbers. They offer approaches to redress criminology’s general lack of attention to the broader cultural dynamics that inform crime, both as a category and as a practice. Unpacking the visual through a feminist criminological lens is an emergent critical project, one that brings together and extends existing feminist and visual criminological practices. Combining feminist criminology and visual studies offers new possibilities in the areas of theory and methodology. Doing so also lends to new modes through which to query gendered power relationships embedded in the images of crime, deviance, and culture. Moreover, such an approach provides alternative lenses for illuminating the constitutive relationships between visuality, crime, and society, many of which exceed mainstream criminological framings. It brings together interdisciplinary perspectives from feminist studies and visual studies rarely engaged by mainstream criminology. Thus, a feminist visual criminology, as an extension of feminist criminology’s deconstructivist aims, has the potential to pose significant—arguably foundational—critiques of mainstream criminology.
Janine Little and Danielle Tyson
Filicide is the deliberate act of a parent killing a child. Despite its low occurrence, filicide is one of the most emotive offenses for a public audience. The murder of a child by their own parent challenges many of our fundamental expectations about the role of parenthood, prompting a sense of horror, outrage, and deep distress: It violates the idea of parental instincts as a protection for children. While maternal and paternal filicide is committed in roughly equal numbers, historically, filicide has been regarded as a female crime. However, media coverage of mothers who commit filicide differs from coverage of fathers who commit the same crime. Infanticidal mothers in particular have a long history of being demonized by the media and in popular culture. Research shows that this is partly because such events shatter expected feminine and maternal norms. Despite the considerable body of scholarly work conducted in this area of crime and media culture, there were few studies of filicide in Australia until recently. As a consequence, the media’s portrayal of these tragic cases is to treat them as “inexplicable” while also attempting to find an explanation, most often through stereotyping, simplification, or rationalization.