Pub Date : 2023-09-13DOI: 10.1177/17416590231196128
Dawn K. Cecil
Prison stories play an important role in people’s understanding of incarceration with the underlying messages often supporting it as an effective solution for the crime problem. While core elements flow between most types of prison representations, advances in media technology present new ways of constructing these stories, making it easier for those who have experienced incarceration to control the message. Podcasting is one such development. This easily accessible medium is able to present a unique listening experience that has been found to induce empathy, strengthen the connection to the subject, and has the potential to contribute to changes in attitudes. This article compares two incarceration narrative podcasts, Ear Hustle and Red Onion Randy—Life in a Supermax, to demonstrate the potential power of this intimate form of media. Drawing from transportation theory, as well as literature on literary journalism and auditory storytelling, it considers how podcasting can be utilized to create a lived or felt experience for listeners that has the potential to begin to shift popular incarceration narratives.
监狱故事在人们对监禁的理解中起着重要作用，其隐含的信息通常支持它是解决犯罪问题的有效方法。虽然核心元素在大多数类型的监狱表现之间流动，但媒体技术的进步提供了构建这些故事的新方法，使那些经历过监禁的人更容易控制信息。播客就是这样一种发展。这种易于使用的媒介能够呈现一种独特的倾听体验，这种体验已被发现可以诱导同理心，加强与主题的联系，并有可能有助于改变态度。这篇文章比较了两个监狱叙事播客，Ear Hustle和Red Onion Randy-Life in a Supermax，以展示这种亲密媒体形式的潜在力量。从交通运输理论，以及文学新闻和听觉叙事的文献中，它考虑了如何利用播客为听众创造一种生活或感受的体验，这种体验有可能开始改变流行的监禁叙述。
{"title":"Transcending prison walls: Prison podcasts, the listening experience, and narrative change","authors":"Dawn K. Cecil","doi":"10.1177/17416590231196128","DOIUrl":"https://doi.org/10.1177/17416590231196128","url":null,"abstract":"Prison stories play an important role in people’s understanding of incarceration with the underlying messages often supporting it as an effective solution for the crime problem. While core elements flow between most types of prison representations, advances in media technology present new ways of constructing these stories, making it easier for those who have experienced incarceration to control the message. Podcasting is one such development. This easily accessible medium is able to present a unique listening experience that has been found to induce empathy, strengthen the connection to the subject, and has the potential to contribute to changes in attitudes. This article compares two incarceration narrative podcasts, Ear Hustle and Red Onion Randy—Life in a Supermax, to demonstrate the potential power of this intimate form of media. Drawing from transportation theory, as well as literature on literary journalism and auditory storytelling, it considers how podcasting can be utilized to create a lived or felt experience for listeners that has the potential to begin to shift popular incarceration narratives.","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135740731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Book review: Alejandro Herrero-Olaizola, <i>Commodifying Violence in Literature and on Screen: The Colombian Condition</i>","authors":"Tya Asih Dayu Purwitasari, Muna Alfadlilah, Marina Rospitasari","doi":"10.1177/17416590231195938","DOIUrl":"https://doi.org/10.1177/17416590231195938","url":null,"abstract":"","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136073441","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-10DOI: 10.1177/17416590231185316
Monica Steinberg
Much has been written on the intertwined histories of art and money, from trompe-l’œil depictions of banknotes to so-called money art to the elements of trust and authenticity undergirding these arenas. Yet, what happens when an artwork representing paper money is inserted into the financial system itself? What mechanisms of monetary production and regulation are activated and revealed? In the 1980s and 1990s, artist JSG Boggs realized Boggs Bills — representations of banknotes that pulled the financial system and the laws regulating money into art, and likewise, pulled art into the machinery of finance and its governance. Alongside the more widely discussed modes of creative engagement such as intervention, culture jamming, and semiotic disobedience, I propose the term contrast agent to discuss the operations of Boggs Bills within the systems of art and law. This conceptualisation allows for a consideration of the laboratory-like mapping of the vectors of exchange performed by Boggs Bills as they weave through various bureaucratic systems. These works of art were injected into and circulated through different arenas of exchange, animating the bureaucracy that both constructs and regulates money.
{"title":"Boggs Bills: Contrast agents in the art market and in law, or, how to make money as an artist","authors":"Monica Steinberg","doi":"10.1177/17416590231185316","DOIUrl":"https://doi.org/10.1177/17416590231185316","url":null,"abstract":"Much has been written on the intertwined histories of art and money, from trompe-l’œil depictions of banknotes to so-called money art to the elements of trust and authenticity undergirding these arenas. Yet, what happens when an artwork representing paper money is inserted into the financial system itself? What mechanisms of monetary production and regulation are activated and revealed? In the 1980s and 1990s, artist JSG Boggs realized Boggs Bills — representations of banknotes that pulled the financial system and the laws regulating money into art, and likewise, pulled art into the machinery of finance and its governance. Alongside the more widely discussed modes of creative engagement such as intervention, culture jamming, and semiotic disobedience, I propose the term contrast agent to discuss the operations of Boggs Bills within the systems of art and law. This conceptualisation allows for a consideration of the laboratory-like mapping of the vectors of exchange performed by Boggs Bills as they weave through various bureaucratic systems. These works of art were injected into and circulated through different arenas of exchange, animating the bureaucracy that both constructs and regulates money.","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":" ","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-08-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47494833","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-07DOI: 10.1177/17416590231191406
G. Barak
{"title":"Book review: David Altheide, Gonzo Governance: The Media Logic of Donald Trump","authors":"G. Barak","doi":"10.1177/17416590231191406","DOIUrl":"https://doi.org/10.1177/17416590231191406","url":null,"abstract":"","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":" ","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45972107","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-01DOI: 10.1177/17416590221133304
Nadja Capus, Cristina Grisot
Introduction In the French film La Daronne (2020), directed by Jean-Paul Salomé, the impressive actress Isabelle Huppert plays an intercept interpreter: she works for the drug squad in Paris and interprets the secretly surveilled phone calls of drug dealers from Arabic to French. It is an exhausting job, and she is overworked and underpaid. To make matters worse, she is under pressure to pay for her mother’s expensive nursing home. One day, she becomes involved in a failed drug deal and has access to many kilograms of cannabis. While she continues her job with the drug squad, she changes sides and becomes a drug dealer herself. It is only when the police involved another interpreter in the surveillance process that her disloyalty is revealed. The movie foregrounds how dependent the police are on the intercept interpreter and her important, active role in making a criminal case. In fact, through her interpretation, Huppert does not merely mechanically translate one Arabic word into a French word. As an intercept interpreter, she does what intercept interpreters do: they select information, decipher codes, attribute importance to some parts of the intercepted conversation, neglect other parts, paraphrase or summarize sequences of the intercepted conversations, add contextual knowledge, provide their own interpretations of unclear statements when transforming them into written transcripts of translated wiretap records (TWRs; Capus and Havelka, 2022; Drugan, 2020: 314; González Rodríguez, 2015: 114; Nunn, 2010; Park and Bucholtz, 2009: 31). Intercept interpreters often (but not exclusively) present the content of a TWR as a seemingly word-for-word translation and transcription of original conversation that is structured as a dialog between two participants. Moreover, they guide the drug squad, indicating when a handover will take place and when the police should move out for an arrest, a house raid, or to seize drugs. In the movie, Huppert gives hints (sometimes misleading ones) and shapes the course of the investigation in a dynamic
{"title":"Ghostwriters of crime narratives: Constructing the story by referring to intercept interpreters' contributions in criminal case files.","authors":"Nadja Capus, Cristina Grisot","doi":"10.1177/17416590221133304","DOIUrl":"https://doi.org/10.1177/17416590221133304","url":null,"abstract":"Introduction In the French film La Daronne (2020), directed by Jean-Paul Salomé, the impressive actress Isabelle Huppert plays an intercept interpreter: she works for the drug squad in Paris and interprets the secretly surveilled phone calls of drug dealers from Arabic to French. It is an exhausting job, and she is overworked and underpaid. To make matters worse, she is under pressure to pay for her mother’s expensive nursing home. One day, she becomes involved in a failed drug deal and has access to many kilograms of cannabis. While she continues her job with the drug squad, she changes sides and becomes a drug dealer herself. It is only when the police involved another interpreter in the surveillance process that her disloyalty is revealed. The movie foregrounds how dependent the police are on the intercept interpreter and her important, active role in making a criminal case. In fact, through her interpretation, Huppert does not merely mechanically translate one Arabic word into a French word. As an intercept interpreter, she does what intercept interpreters do: they select information, decipher codes, attribute importance to some parts of the intercepted conversation, neglect other parts, paraphrase or summarize sequences of the intercepted conversations, add contextual knowledge, provide their own interpretations of unclear statements when transforming them into written transcripts of translated wiretap records (TWRs; Capus and Havelka, 2022; Drugan, 2020: 314; González Rodríguez, 2015: 114; Nunn, 2010; Park and Bucholtz, 2009: 31). Intercept interpreters often (but not exclusively) present the content of a TWR as a seemingly word-for-word translation and transcription of original conversation that is structured as a dialog between two participants. Moreover, they guide the drug squad, indicating when a handover will take place and when the police should move out for an arrest, a house raid, or to seize drugs. In the movie, Huppert gives hints (sometimes misleading ones) and shapes the course of the investigation in a dynamic","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"19 3","pages":"380-399"},"PeriodicalIF":1.8,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10394396/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"10301547","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-27DOI: 10.1177/17416590231187927
Marianne P. Colbran
{"title":"Book Review: Justin Ellis, Representation, Resistance and the Digiqueer: Fighting for Recognition in Technocratic Times","authors":"Marianne P. Colbran","doi":"10.1177/17416590231187927","DOIUrl":"https://doi.org/10.1177/17416590231187927","url":null,"abstract":"","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":" ","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42254771","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-07-09DOI: 10.1177/17416590231185314
Liam Gillespie
This article examines the effect Australia’s ‘Medevac’ legislation had on the way refugees were depicted by the Liberal-National Coalition and Australian Labor Party in their debate about immigration detention and border security. I argue that by enabling medical evacuations for people detained offshore, Medevac shifted debate about refugees and border security into the realm of the biomedical. I maintain this resulted in the biopolitical production of the figure of the malingering refugee, who falsifies illness to cross the border. While both parties produced this pejorative category, what distinguished them was the degree to which they believed malingering applicants could be rendered ‘ known’ via the medical border. For the ALP, Medevac could recruit the purported ‘objectivity’ of biomedicine, such that malingering applicants could be identified, and border security thereby supposedly maintained. Conversely, for the LNP, no such guarantee could be established, meaning for them, Medevac rendered the border and therefore the nation vulnerable to malingering applicants. Despite their differences, I argue both parties articulated the figure of the malingering refugee for similar nationalistic purposes. Namely, to justify the violence of the Australian border protection regime, while nevertheless simultaneously depicting themselves and the nation as fundamentally ‘good’: not in spite of, but because of their harsh border policing practices. In concluding, this article considers the applicability of its analysis both to the contemporary Australian context and abroad, such as the United States and UK, where similar border protection policies and discourses have emerged.
{"title":"‘These people are conning us’: Australia’s Medevac laws and the biopolitical production of the ‘malingering’ refugee","authors":"Liam Gillespie","doi":"10.1177/17416590231185314","DOIUrl":"https://doi.org/10.1177/17416590231185314","url":null,"abstract":"This article examines the effect Australia’s ‘Medevac’ legislation had on the way refugees were depicted by the Liberal-National Coalition and Australian Labor Party in their debate about immigration detention and border security. I argue that by enabling medical evacuations for people detained offshore, Medevac shifted debate about refugees and border security into the realm of the biomedical. I maintain this resulted in the biopolitical production of the figure of the malingering refugee, who falsifies illness to cross the border. While both parties produced this pejorative category, what distinguished them was the degree to which they believed malingering applicants could be rendered ‘ known’ via the medical border. For the ALP, Medevac could recruit the purported ‘objectivity’ of biomedicine, such that malingering applicants could be identified, and border security thereby supposedly maintained. Conversely, for the LNP, no such guarantee could be established, meaning for them, Medevac rendered the border and therefore the nation vulnerable to malingering applicants. Despite their differences, I argue both parties articulated the figure of the malingering refugee for similar nationalistic purposes. Namely, to justify the violence of the Australian border protection regime, while nevertheless simultaneously depicting themselves and the nation as fundamentally ‘good’: not in spite of, but because of their harsh border policing practices. In concluding, this article considers the applicability of its analysis both to the contemporary Australian context and abroad, such as the United States and UK, where similar border protection policies and discourses have emerged.","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":" ","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-07-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46502239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-20DOI: 10.1177/17416590231182753
Aldona Bialowas Pobutsky
{"title":"Book review: Óscar Martínez, Los muertos y el periodista","authors":"Aldona Bialowas Pobutsky","doi":"10.1177/17416590231182753","DOIUrl":"https://doi.org/10.1177/17416590231182753","url":null,"abstract":"","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":" ","pages":""},"PeriodicalIF":1.8,"publicationDate":"2023-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42163868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-16DOI: 10.1177/17416590231173833
J. Damm
{"title":"Monsters Are Real","authors":"J. Damm","doi":"10.1177/17416590231173833","DOIUrl":"https://doi.org/10.1177/17416590231173833","url":null,"abstract":"","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"19 1","pages":"499 - 500"},"PeriodicalIF":1.8,"publicationDate":"2023-06-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65488961","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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