This article analyzes journalistic depictions of violence against girls and women in Mexico in the context of several high-profile cases that have played out in the country over the past two decades. The argument is that the mainstream media uses two primary tactics to blame victims for the violence they have experienced: (a) claim that the victims are responsible for their own crimes by presenting sexist arguments that discredit their value as humans, and (b) claim that the mothers of victims of violence are also responsible for the crimes committed against their daughters by presenting sexist ideas that limit mothers and daughters to the domestic space. These tactics are used in order to continue to limit the participation of women in the public space and public life. Via interviews with mothers, activists, and journalists, this article explores the personal impact of journalistic depictions of violence against women and also looks at how journalists are working to represent women more diversely and in ways that feature their voices rather than silencing them. Part of the problem is that in Mexico, as in many countries, the mainstream media is controlled and reported on mostly by men. Given that Mexico is one of the most violent countries in the world for journalists, women are often discouraged from reporting, threatened with death, or simply made invisible because their stories are not considered important. In order to create real change in the way violence against women is represented, it is necessary to have gender parity in reporting and in ownership of media outlets. For this kind of equality to be possible, the government must offer more protection and support to journalists, and it should make gender studies courses a mandatory element of media training.
The early jury films typically portray the jury as a passive group of men who simply watch the trial with little reaction. They are meant to stand in for the viewer. The viewer, like the jury, is supposed to reach a verdict as to the defendant’s guilt or innocence. There are a few exceptions to this traditional portrayal of the jury. The exceptions involve a holdout juror who is dissatisfied with the verdict and conducts his or her own investigation. The most well known jury film, 12 Angry Men, which aired in 1957, marks a departure from these traditional and exceptional portrayals of a jury. This film is an outlier in the annals of jury films because it shows the jury at work; all the action takes place as the jury deliberates in the jury room. It also depicts an unusual scenario in which a single juror is able to stand up against the other 11 jurors and ultimately persuade them to change their votes. One reason this film has endured is that it depicts an individual’s uphill battle against a group. Another reason is that the plot has been incorporated into episodes of popular television shows so that new generations of viewers learn about it. There have been only a few modern films that focus on the jury. Some of these films return to the theme of the holdout juror who carries out a subsequent investigation to uncover the truth, whereas others show a juror who engages in misconduct or self-help in the face of a defendant who has abused the trial process. Although the focus on the holdout juror in many of these films, both old and new, provides drama, holdout jurors are hard to find in actual jury trials, especially when there are just one or two jurors who are holdouts.
From watching imported American popular culture dramas focusing on criminal justice, French television viewers have become confused as to how their own legal system really works. They have erroneous expectations of behaviours in court, like addressing judges by the wrong title, a title that comes from poor dubbing. Or they will refuse to answer questions, thinking they have Fifth Amendment protections, when they do not. They know very little of the organization of courtroom space. Since it is forbidden by law to take photographs or film trials in France, it is difficult to bring accurate court images to the public. The French produce police dramas, but very few series or made-for-television movies on justice, thus providing no alternatives for these erroneous criteria. They do, however, produce documentaries and docudramas dealing with past investigations or with timely issues such as recidivism or reintegration into society after prison. Documentaries, although pertinent, give viewers only one-shot access to the representations of justice and the legal professions they contain. The do not facilitate the acquisition over time of a legal culture.
In addition to the confusion, the French have a negative image of lawyers as motivated by money and politics rather than justice. Films and French television fictions are responsible for this impression. Television news reports are short and give incomplete accounts of the law or on-going proceedings. Sometimes lawyers are interviewed in these reports, but never prosecutors or judges. Judges and prosecutors are magistrats, not lawyers. They train in different institutions from lawyers and are civil servants, so they are not as likely as lawyers to be making a lot of money, nor are they free to make public statements. The image of these professions is consequently more positive in the French imagination as portrayed in the popular culture.
Stefan Machura and Michael Böhnke
Legal themes, especially those related to crime, abound in German popular culture. This article covers some of the most politically significant and popular examples from the Weimar Republic period to present times, putting them into their social and media sector context.
Due to the country’s experience with totalitarian regimes, one main topic of popular culture is the political abuse of the law. Run-of-the-mill crime stories, of course, are a staple of literature and audiovisual media. Their appeal did not lessen in the age of the Internet. Due to genre and narrative conventions, mainstream media tend to shed a positive light on the institutions and personnel connected with the law.
Much of German fiction is heavily influenced by the example of US films and TV series, so far that they misrepresent the German legal system. Other influences shape content as well. Economic pressures rank high among them, while overt censorship was evident during the Third Reich (1933–1945) and after partition in the German Democratic Republic (GDR; 1949–1990). Highly regarded artistic works often focus on the topic of individual guilt, while lesser productions typically draw on the sensational aspects of crime detection. The ordering hand of the judge, putting things right after a tumultuous court hearing, signifies the German TV judge show (the equivalent of Judge Judy). Measured degrees of social criticism are typical for many of the better TV productions. And, despite television’s influence, novels and plays still claim a stake in popular culture.
Although US media productions dominate the international market for legal fiction, German TV shows, especially police series, became a success story as well. They project the image of the clean, unbiased, correct, and efficient police inspector. Critical films and programs aim mainly at the domestic market due to their specific issues. Nevertheless, the overall effect of German popular fiction dealing with crime and justice tends to be positive, with trust in the law being supported.
Meda Chesney-Lind and Nicholas Chagnon
Though it is generally given less attention than sexual assault, domestic violence is quite often depicted in corporate media products, including news broadcasts, television shows, and films. Mediated depictions of domestic violence share many of the same problems as those of sexual assault. In particular, the media tends to imply that women are somehow culpable when they are being beaten, even murdered, by their partners. News on domestic violence is often reported in a routine manner that focuses on minutiae instead of context, informing audiences minimally about the nature, extent, and causes of domestic violence. Though it is encouraging that over the past several decades the media has begun to acknowledge that domestic violence is a serious problem, this recognition is challenged by antifeminist claims-making in the media. Such challenges generally cite contested social science research as proof that feminist research on domestic violence is biased and inaccurate. Furthermore, media representations of domestic violence often supply racializing and class-biased discourses about abusers and their victims that frame domestic violence as largely the product of marginalized classes, rather a problem that affects the various strata of society. Since the 9/11 terrorist attacks, media coverage of the violence against women abroad, particularly in Islamic nations, has provided more racializing discourse, which juxtaposes “progressive” Western cultures with “backward” Eastern ones. On the domestic front, news focusing on indigenous communities replicates some of the racism inherent in the orientalist gaze applied to domestic violence abroad. Generally, the media do a poor job of cultivating a sophisticated understanding of domestic violence among the public. Thus, many researchers argue such media representations constitute a hegemonic patriarchal ideology, which obfuscates the issue of domestic violence, as well as the underlying social relations that create the phenomenon.
Researchers across varied disciplines have begun to explore social media as a new delta of communication; however, few are taking a hard look at social media as it relates to crime. Sites such as Twitter and Facebook increasingly are being used by law enforcement as tools for engaging in criminal investigation, improving public relations, and increasing public awareness. Similarly, persons engaging in crime increasingly employ such sites in novel and unique ways to network, exchange information, and execute and record criminal activities. A survey of research in fields ranging from computer science to sociology to communications demonstrates that both quantitative and qualitative research on and about social media have the capacity greatly to advance contemporary understanding of social organization and protest, crime and criminal behavior, and law and social control. For example, Facebook and Twitter have become key sources for gaining insights into criminal behaviors, such as gang activity, as well as on-the-ground data regarding significant events, such as the Occupy Wall Street, Arab Spring, the Black Lives matter movements, and elections of public figures. Other applications, such as Snapchat and Kik, provide the opportunity for immediate transmission of content and a new source of evidence to be used in criminal prosecutions. Studying social media from a criminal justice perspective, however, is a complex endeavor. While the Internet offers seemingly limitless opportunities for social organizing and networked engagement, the forum bears as much capacity for exclusion as it does for liberation. The growth of new social ills or crimes, such as “doxing,” “phishing,” and “revenge pornography,” for example, highlight that the confluence of immediacy of communication, perceived anonymity, and lack of moderation often renders the online environment threatening for perceived outsiders, particularly young women. On the other hand, as incidents, such as online threats against gamer Zoe Quinn and blogger Anita Sarkeesian, have come to light, online content is increasingly monitored, regulated, and controlled by its corporate ownership, who generally reveal little about how information is sorted, prioritized, and disseminated. As a researcher, one must be mindful that data, particularly qualitative data, collected from social media sites may not be random, representative, or generalizable. In addition, attendant to studying the Internet are unique ethical and privacy concerns not present in non-virtual fora. Many describe the Internet as a public sphere, and law enforcement often treats the online environment as a location in which Fourth Amendment privacy protections can be less rigorously observed. For researchers, however, it is essential to carefully consider whether the study of online discourse is archival or is human subjects research, and in the case of the latter, whether and how consent might be obtained. It is also important that researchers are attentive to the particular characteristics of the online site or sites they choose to examine, as the mission, rules, and practices of each site vary dramatically.
Military justice films occupy a unique space in film and legal studies, marrying two popular genres—courtroom dramas and military-themed films. This article examines the military justice film as a distinct genre in popular culture depictions of crime and punishment. First, it provides a brief overview of the history of the military justice film, from Classical Hollywood to the present. It then examines what sets military justice films apart from civilian courtroom dramas—the context, hierarchies, procedural rules, and broader implications of justice in the military context. It discusses why military justice films remain an enduring genre, with their appeal to universal themes and archetypal narratives. It further describes how military justice films have paralleled military history and serve as a critique of military, political, and national security policies. The article concludes by examining contemporary depiction of military justice in film, analyzing how the genre has changed since its inception, and discussing how military justice films may continue to evolve to keep pace with shifting norms of both law and warfare.
Miscarriages of justice, also called wrongful convictions and errors of justice (Forst, 2004), have long been a subject of popular interest. Traditional ballads and stories recounted the plight of the poor man facing execution for poaching to feed his family (“Geordie,” Child Ballad #209), the wife or sister who attempts to gain his release by surrendering her virtue to the cruel judge (“In his golden bed at midnight/There she heard the gallows groaning …”), and the outlaws, rebel leaders, and condemned men who told their stories from the scaffold (“Roddy McCorley”). These traditional stories focus on the contrast between good and evil, the implacability of the judge, and the imminence of death, while the theme of injustice is hinted at but never spoken. It is only in the final third of the 20th century that it becomes possible to speak of wrongful conviction as a topic of academic study and to explore it scientifically, trying to determine how often it occurs, and whether it is the result of human error.
This article first provides a brief history of wrongful convictions, beginning with the Salem witch trials, and then turns to the discovery and crisis of forensic evidence in the 20th century. By the end of the 20th century, forensic evidence techniques, from fingerprint identification to hair analysis, to interrogation techniques, had been called into question by the DNA revolution and the Supreme Court’s holding that expert witnesses in federal courts must be able to show the scientific basis for their testimony. Then we will turn to the psychological research that suggests that our current investigative techniques can provide false or misleading results. Causation can be divided into proximate and ultimate causation, and in the latter category, we will describe a social psychological theory which seeks to understand why, for example, it is so often the poor man (or, in the United States, the man of color) who faces execution for a crime he did not commit. Throughout, we will note the role of popular entertainment and news media in establishing a social understanding of wrongful convictions and assumptions as to its causes. We will close with considering three recent true crime documentaries whose success predicts similar efforts down the road.
The concept of moral panic was first developed in the United Kingdom in the early 1960s, principally by Stan Cohen, initially for the purpose of analyzing the definition of and social reaction to youth subcultures as a social problem. Cohen provided a “processual” model of how any new social problem would develop: who would promote it and why, whose support they would need for their definition to take hold, and the often-crucial role played by the mass media and institutions of social control. In the early 1990s, Erich Goode and Nachman Ben-Yehuda produced an “attributional” model that placed more emphasis on strict definition than cultural processes. The two models have subsequently been applied to a range of putative social problems which now can be recognized as falling into five principal clusters: street crime, drug and alcohol consumption, immigration, child abuse (including pedophilia), and media technologies. Most studies have been conducted in Anglophone and European countries, but gradually, the concept is increasing its geographical reach. As a consequence, we now know a good deal about how and why social problems come to be constructed as moral panics in democratic societies.
This approach has nevertheless been criticized for its casual use of language, denial of agency to those promoting and supporting moral panics, and an oversimplified and outdated view of mass media, among other things. As proponents and opponents of moral panic analysis continue to debate the essentials, the theoretical context has shifted dramatically. Moral panic has an uncertain relationship to many recent developments in sociological and criminological thought. It threatens to be overwhelmed or sidelined by new insights from theories of moral regulation or risk, conceptualizations of the culture of fear, or the social psychology of collective emotion. Yet as an interdisciplinary project, it continues, despite its many flaws, to demand sustained attention from analysts of social problem construction.
The literature on sexualization is replete with controversial debates surrounding the sexualization of the female body in multiple media formats and how various scholars have sought to understand the social significance of this phenomenon. These debates not only focus on the sheer extent of the sexualization of the female body compared to the male body but also on the types of sexualization in terms of the use of the female body for commercial purposes. Debates range from those with a protectionist theme focused on protecting young women and girls from the damaging effects of sexualization, to those that advocate the imposition of a stricter moral standard for female dress and behavior to feminist debates about the agency of women and girls who freely choose to sexualize their bodies.