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Gothic criminology was developed in the first decade of the 21st century as a postmodern theoretical model, incorporating elements from key criminological/sociological texts and themes embedded in various literature and film genres, with the goal of highlighting the continued existence of monstrous evil in its various modern permutations. As developed by Caroline (Kay) S. Picart and Cecil Greek, the perspective has been used to compare reel and real-world criminal activity, including, for example, male serial killers (metaphorically depicted as vampires), female serial killers such as Eileen Wuornos, dirty cops (interpreted as Golem), suicidal terrorists, societal responses to chaos-induced contemporary global evil (the Behemoth), and supernatural malevolent forces taking possession of human bodies. The potential usefulness of the theory in explaining other expressions of dystopic societal deviance and crime appears to be expanding.
Graffiti has a long history. There are many examples from the history of human cultures of signs and symbols left on walls as remnants of human presence. However, the origins of modern graffiti reside in the explosion of creative activity associated with the development of urban cultural expression among marginalized individuals, groups, and communities in the United States in the late 1960s and early 1970s. Graffiti has expanded in form and content as well as geography to become an almost universal urban phenomenon. It is a ubiquitous feature of cities and an adornment of the modern urban landscape. It has developed beyond its original expression and identification with lettering and spray paint to now encompass a range of media and practices that are associated with street art.
Graffiti in particular, but also street art, has engendered contrasting opinions and reactions about its effect, meaning, and value. It elicits a variety of responses both positive and negative. Is it art or is it crime? Is it a creative expression or resistance to dominant urban design discourses and management? Is it vandalism? Is it the result of deviant youthful and antisocial behavior? It has been linked to urban decay and community decline as well as regeneration and gentrification. Graffiti writers and street artists have been criminalized, while others have been lauded and promoted within the commodified world of the art market. The popularity and spread of graffiti as a global phenomenon have led to an increasing academic, artistic, and practitioner literature on graffiti that covers a range of issues, perspectives, and approaches (identity, youth, subculture, gender, antisocial behavior, vandalism, gangs, territoriality, policing and crime, urban art, aesthetics, commodification, etc.). The worlds of graffiti and street art are therefore complex and have provoked debate, conflict and response from those who view them as forms of urban blight as well as from those who perceive them as an expression of (sub)cultural creativity and representative of urban vibrancy and dynamism. The study of who does graffiti and street art, as well as why, where, and when they do graffiti and street art, can help develop our understanding of the competing and contrasting experiences and uses of the city, of urban space, of culture, of design, and of governance. Graffiti is therefore also the focus for social policy initiatives aimed at youth and urban/community regeneration as well as the development and exercise of criminal justice strategies.
American courtroom films depicting criminal trials have long resonated with audiences around the world, including viewers in countries whose legal systems are very different from those portrayed in the films. Three principal factors account for the broad popularity of these films.
1. Flexibility of the genre: The crimes with which defendants are charged can be carried out in an infinite number of ways and for an infinite variety of motives. Stories can be comedies or dramas; real or fictional; and “who-dunits,” “why-dunits,” or “how-dunits.”
2. The adversary system of trial: The American adversary system of trial is made to order for screenwriters. The question-and-answer format produces verbal duels between lawyers and witnesses that often result in surprise evidence, sudden plot twists, and in-your-face comeuppances. While the nominal targets of the testimony and the arguments are the jurors who are frequently present, the jurors are proxies for the writers’ ultimate targets, the viewers.
3. Subject matter: Defendants in courtroom films are typically charged with murder or other forms of serious crime, topics to which viewers in all countries can easily relate.
For individual courtroom films, the “moment of truth” typically occurs when viewers find out whether a defendant is innocent or guilty. But for the courtroom genre as a whole, “moments of truth” consist of the “macro lessons” that courtroom films “teach” to viewers about the American system of criminal justice. Most viewers, regardless of where they live, have had little or very little exposure to actual criminal trials. For most people, what they think they know about American criminal justice is based on the images of law, lawyers, and criminal justice portrayed in courtroom films.
Historical study of crime, media, and popular culture has been underway since “the cultural turn” in the social sciences and humanities in the 1980s. Since then, a diverse literature has emerged presenting different theories, dealing with various time periods and topics, and challenging contemporary assumptions. Much of this work has focused on the press, because newspaper archives offer a familiar source for researchers accustomed to working with documents in libraries and because “moral panic” has provided a theory that can be easy moved from one time and place to another. However, crime, media, and popular culture presents a vast history and much of this has yet to be examined by criminologists. It includes broadcast radio, television, and feature films, as well as folklore, ballad and song, and theatrical performance, not to mention novels and stories. There has been enough historical research by specialists in literature, journalism history, film history, and other fields to demonstrate the value of historical research for criminology. But making to most of this history will require methodological innovation and theoretical development. To understand the history of crime, media, and popular culture, criminologists will need to move away from document-based historical research and toward digital forms of archived media. They will also need to develop theoretical perspectives beyond 1970s sociology.
This chapter analyzes the representation of homicide in contemporary television drama series. The chapter draws upon critical analysis from the fields of criminal law, criminology, law and literature, and cultural studies to provide various analytical frameworks and perspectives through which to understand and critique specific dramas and the portrayal of homicide drama generally. If criminology is an effort to understand crime and criminals, then crime dramas including homicide television dramas can be considered a form of popular criminology that can and should be analyzed in terms of cultural representations of crime and criminal justice. Theorists have proposed that crime fiction can be categorized as mystery, detective fiction, or crime fiction. This framework provides a means for analyzing homicide drama, including the possibility of resolution and justice, geographic and temporal settings, the portrayal of the murder, and the construction of the three stock characters of crime fiction (the victim, the detective, and the murderer). The chapter concludes with a presentation of theories about the impact of media portrayals of crime upon public beliefs about crime, criminality, and the criminal legal system.
Rachel Austin and Amy Farrell
Although the exploitation of people for profit is not a new phenomenon, in the late 1990s and early 2000s international leaders, advocates, and the public became increasingly concerned about the risks of exploitation inherent in labor migration and commercial sex work. In 2000, the U.S. government passed the Victims of Trafficking and Violence Protection Act (TVPA), which defined a new crime of human trafficking and directed law enforcement agencies to begin identifying and responding to this form of victimization. Following passage of the TVPA, U.S. media interest in human trafficking as a crime increased steadily, though the framing of the problem, its causes, and its solutions has changed over time. Media coverage of human trafficking spiked around 2005 and has risen steadily since that time. Human trafficking has become a “hot topic”—the subject of investigative journalism and a sexy plot line for films and television shows. Yet, the media often misrepresent human trafficking or focus exclusively on certain aspects of the problem. Research on human trafficking frames in print media revealed that portrayals of human trafficking were for the most part oversimplified and inaccurate in terms of human trafficking being portrayed as innocent white female victims needing to be rescued from nefarious traffickers. Depictions of human trafficking in movies, documentaries, and television episodes in the United States have followed a rescue narrative, where innocent victims are saved from harmful predators. Additionally, traffickers are commonly portrayed in the media as part of larger organized crime rings, despite empirical evidence to the contrary. Incorrect framing of human trafficking in the popular media may lead policymakers and legislators to adopt less helpful antitrafficking responses, particularly responses focused on criminal justice system solutions.
Timothy O. Lenz
The media inform the public about crime while also reflecting and shaping thinking about crime. The news media primarily provide information when they report on crime as part of the coverage of public affairs, but they also shape thinking about crime. The entertainment media, particularly television and film crime stories, primarily entertain audiences, but they also reflect and shape public opinion about the threat of crime, the causes of crime, criminal justice policies, and the criminal justice system. The media effect on the general public’s thinking about crime includes both the news media and the entertainment media because the trends toward infotainment in the news media (e.g., docudramas and true crime reality shows) and realism in the crime genre (stories that are based on or inspired by actual events) have blurred the distinction between fact and fiction.
The study of ideology in the crime genre includes the development of theories; empirical analyses of the media effect; explaining ideology, film, and television crime stories as legal texts explaining criminal procedure; and the exploration of current issues related to thinking about rights, law, violence, and justice.
In the context of crime, victimization, and immigration in the United States, research shows that people are afraid of immigrants because they think immigrants are a threat to their safety and engage in many violent and property crimes. However, quantitative research has consistently shown that being foreign born is negatively associated with crime overall and is not significantly associated with committing either violent or property crime. If an undocumented immigrant is arrested for a criminal offense, it tends to be for a misdemeanor. Researchers suggest that undocumented immigrants may be less likely to engage in serious criminal offending behavior because they seek to earn money and not to draw attention to themselves. Additionally, immigrants who have access to social services are less likely to engage in crime than those who live in communities where such access is not available. In regard to victimization, immigrants are more likely to be victims of crime. Foreign-born victims of crime may not report their victimization because of fears that they will experience negative consequences if they contact the police. Recently, concern about immigration and victimization has turned to refugees who are at risk of harm from traffickers, who warehouse them, threaten them, and physically abuse them with impunity. More research is needed on the relationship among immigration, offending, and victimization. The United States and other nations that focus on border security may be misplacing their efforts during global crises that result in forced migrations. Poverty and war, among other social conditions that would “encourage” a person to leave their homeland in search of a better life, should be addressed by governments when enforcing immigration laws and policy.
The use of detention for immigration purposes is a carceral trend that continues to increase across the world and is a phenomenon no longer limited to so-called western countries or the global north. Linked to the criminalization of mass migration under conditions of globalization, immigration detention can be understood as both a policy and a practice that is directed towards the control of unwanted human mobility. The extension of tactics traditionally used in the penal system to the realm of immigration control raises important questions about the purpose, justification, and legitimacy of immigration detention. Broadly defined as the confinement of non-citizens under administrative powers rather than criminal law to achieve immigration-related aims, immigration detention is one amongst an array of border control strategies aimed at the identification of migrants, the prevention of absconding, and the facilitation of their removal. Only recently has this form of confinement become the focus of criminological inquiry. Researchers have found that immigration detention has a profound impact on those who are detained, particularly on mental and physical health as well as on more complex issues of identity, belonging, human rights, and legitimacy. Empirical research has indicated that although the detention of migrants is not punishment, it is often experienced as such, with the prison emerging as a point of comparison through which to make sense of this practice. That the “usual suspects”―poor men and women of color―are the primary populations detained raises important questions about the use of immigration detention in the service of punitive and restrictive migration control strategies that further global inequality along the familiar lines of gender, race, and socioeconomic status.
Sara Wakefield and Janet Garcia-Hallett
The rapid rise in the incarceration rate, most notably in the United States over the last four decades, has drawn greater attention to the disabilities imposed by incarceration experiences and the spillover of these complications to the families of inmates. Prisons have always disproportionately drawn upon the disadvantaged, but research today details how imprisonment creates new harms for inmates as well as for those who are connected to them but were never incarcerated. In this contribution, the effects of incarceration on the family are briefly described across several domains. First, the social patterning of incarceration effects are described, for inmates and for their families, showing that imprisonment effects are both widespread and overwhelmingly repressive for some groups. Next, the effects of incarceration on the families of inmates are described, focusing on the partners and children of inmates, and differentiating between maternal and paternal incarceration. Incarceration is broadly harmful for families, but there is a significant gender gap in knowledge—research on paternal incarceration and the romantic partners of male inmates is much more common, rigorous, and uniform in findings. Where findings are mixed, scholarship is reviewed on how examining incarceration and family life has expanded across varying fields that often differ in their research approach, emphasis, and methodology. Finally, the discussion ends with the most pressing challenges for researchers going forward, suggesting that studies interrogating heterogeneity and leveraging new data sources offer the most fruitful path. This review is focused largely on the United States. First, and most practically, much of our knowledge about the effects of incarceration on the family is based on U.S.-based samples. Second, the effects of incarceration on the family have worsened significantly as a result of the prison boom in the United States. It remains to be seen how such effects translate to different contexts; some research suggests similar process at much lower incarceration rates, while others show less harm in other contexts.