In American cinema from 1916 to 2000, two main archetypes emerge in portrayals of women seeking abortion: prima donnas and martyrs/victims. While the prima donna category faded over the course of the 20th century, study of abortion in American cinema from 2001 to 2016 shows that the victim archetype persists in many films. Women who have abortions are cast as victims in films across a variety of genres: Christian, thriller, horror, and historical. Some recent films, however, namely, Obvious Child (2014) and Grandma (2015), reject this hundred-year-old tendency to portray abortion as regrettable and tragic—especially for the women choosing it—and instead show it as a liberating experience that brings women together, breaking new ground for the depiction of abortion in American film.
The term genre refers to a set of thematically or stylistically similar popular cultural texts. Courtroom narratives form both movie and television genres, and criminal trials form subgenres. Each entry in the criminal subgenres contains a criminal trial and pits a prosecutor against a defense lawyer. This article discusses the genre conventions for these characters.
Where the defense lawyer is a protagonist, the client is a co-protagonist. The client is either innocent or is being unjustly prosecuted. The defense lawyer, often presented in heroic terms, struggles to get the client acquitted (or the punishment reduced). The defense lawyer must overcome obstacles that the antagonist prosecutor places in the lawyer’s path. Defense lawyers are loners who are lacking in personal life or emotions. Perry Mason is the iconic genre defense lawyer.
Where the prosecutor is the protagonist, the crime victim (or survivors of a deceased victim) are the co-protagonists. Prosecutors are relentless, honorable, and often politically ambitious. They must struggle to overcome obstacles erected by defense lawyers. Like defense lawyers, prosecutors lack a personal life or emotions. Jack McCoy on Law & Order is the iconic genre prosecutor.
These generic conventions have become stale. Consequently, creators of pop culture products in the criminal courtroom subgenre employ genre-busting narratives that have refreshed the genre. Defense lawyers often work for clients they suspect are guilty and try to get them off through the use of technical defenses. Guilty clients deceive gullible lawyers into putting on cases with perjured testimony. If the client confesses guilt, the lawyer betrays the client to protect the public. Defense lawyers have personal lives, feelings, and emotions, and some are anti-heroes. Genre-busting prosecutors often have unpleasant personalities, and they don’t hesitate to bend ethical rules. As in the case of defense lawyers, prosecutors have inner lives and personal relationships. These genre-busters have destabilized the generic conventions and may well have established new conventions.
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.
Internet and telecommunications, ubiquitous sensing devices, and advances in data storage and analytic capacities have heralded the age of Big Data, where the volume, velocity, and variety of data not only promise new opportunities for the harvesting of information, but also threaten to overload existing resources for making sense of this information. The use of Big Data technology for criminal justice and crime control is a relatively new development. Big Data technology has overlapped with criminology in two main areas: (a) Big Data is used as a type of data in criminological research, and (b) Big Data analytics is employed as a predictive tool to guide criminal justice decisions and strategies. Much of the debate about Big Data in criminology is concerned with legitimacy, including privacy, accountability, transparency, and fairness.
Big Data is often made accessible through data visualization. Big Data visualization is a performance that simultaneously masks the power of commercial and governmental surveillance and renders information political. The production of visuality operates in an economy of attention. In crime control enterprises, future uncertainties can be masked by affective triggers that create an atmosphere of risk and suspicion. There have also been efforts to mobilize data to expose harms and injustices and garner support for resistance. While Big Data and visuality can perform affective modulation in the race for attention, the impact of data visualization is not always predictable. By removing the visibility of real people or events and by aestheticizing representations of tragedies, data visualization may achieve further distancing and deadening of conscience in situations where graphic photographic images might at least garner initial emotional impact.
Arthur Holland Michel
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 present drone revolution, which has itself driven what is being called the “intelligence, surveillance, and reconnaissance (ISR) revolution,” is the result of this process played out over an entire century.
The unmanned 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 fragile and failure-prone “aerial torpedos” in the First World War and an innovative and overlooked live video transmission system from the 1930s, through the CIA’s little-known—and radically forward-thinking—Samos spy satellite program of the late 1950s and a series of extraordinarily ambitious Cold War drone programs, up to the adoption of drones over Bosnia in the 1990s. Together, these episodes show how we got the drones of today and realized 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 number 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. 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.
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.