Pub Date : 2022-03-09DOI: 10.1177/17416590221081165
Poppy de Souza, E. Russell
This article examines a sound-based digital project co-created with refugees and asylum seekers held in indefinite detention in Australia and Papua New Guinea to advance understandings of the sensory violence of borders – and resistance to borders – and their reordering of intimate realms. In where are you today (2020), refugees/asylum seekers catalogued their carceral environments in 10-minute sonic vignettes which were distributed to listeners daily via text message, for 30 consecutive days. Drawing on sensory methodologies and feminist orientations towards the intimate, the article considers how this sound project alerts us to an alternative sensory politics attuned to the quiet, quotidian and exhausting labour of resisting Australia’s racialised border regime. Through a close listening to selected recordings, we argue the intimacies shared through where are you today produce knowledge about embodied practices of care, breath, touch and waiting in indefinite detention. Networked, transborder sound projects can unsettle both incarcerated and non-incarcerated subjects’ relationships to their environments, opening affiliative possibilities for coming into relation with the border(s) in new ways. We conclude that the project’s creators forge and sustain carceral intimacies within and despite the border’s affective violence, and that sound is a particularly affective and evocative means of conveying and creating these intimacies, in and beyond indefinite detention.
{"title":"Sensing the border(s): Sound and carceral intimacies in and beyond indefinite detention","authors":"Poppy de Souza, E. Russell","doi":"10.1177/17416590221081165","DOIUrl":"https://doi.org/10.1177/17416590221081165","url":null,"abstract":"This article examines a sound-based digital project co-created with refugees and asylum seekers held in indefinite detention in Australia and Papua New Guinea to advance understandings of the sensory violence of borders – and resistance to borders – and their reordering of intimate realms. In where are you today (2020), refugees/asylum seekers catalogued their carceral environments in 10-minute sonic vignettes which were distributed to listeners daily via text message, for 30 consecutive days. Drawing on sensory methodologies and feminist orientations towards the intimate, the article considers how this sound project alerts us to an alternative sensory politics attuned to the quiet, quotidian and exhausting labour of resisting Australia’s racialised border regime. Through a close listening to selected recordings, we argue the intimacies shared through where are you today produce knowledge about embodied practices of care, breath, touch and waiting in indefinite detention. Networked, transborder sound projects can unsettle both incarcerated and non-incarcerated subjects’ relationships to their environments, opening affiliative possibilities for coming into relation with the border(s) in new ways. We conclude that the project’s creators forge and sustain carceral intimacies within and despite the border’s affective violence, and that sound is a particularly affective and evocative means of conveying and creating these intimacies, in and beyond indefinite detention.","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"19 1","pages":"20 - 39"},"PeriodicalIF":1.8,"publicationDate":"2022-03-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45450078","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 : 2022-03-02DOI: 10.1177/17416590221081162
Anita Lam
While media attention has focused on the visceral brutality of police chokeholds, less noticed are the breath-taking effects of air pollution caused by the (in)actions of state agencies dedicated to environmental protection. To think through how race and racism are embedded in the processes that underlie the Anthropocene, I reframe three key terms of engagement to analyze with greater rigor contemporary criminal anthroposcenes (i.e. scenes constituted by the inextricable enmeshing of crime and anthropogenic climate change): (1) climate and weather, (2) bodies and environments, and (3) anestheticization. Shaping a racial geography of dirty air, a climate of anti-Blackness in the US has been quietly impacting the health and lives of African Americans for centuries, so that the deadly impact of viral outbreaks can merge with existing modes of spectacular and slow violence. From the murder of George Floyd to the establishment of sacrifice zones, the complexity and messiness of recent breath-taking scenes of injustice are formed and maintained by a dangerous mixture of racial apathy and racially-charged violence.
{"title":"Criminal anthroposcenes 2.0: Race, racism, and breath-taking violence in the time of COVID","authors":"Anita Lam","doi":"10.1177/17416590221081162","DOIUrl":"https://doi.org/10.1177/17416590221081162","url":null,"abstract":"While media attention has focused on the visceral brutality of police chokeholds, less noticed are the breath-taking effects of air pollution caused by the (in)actions of state agencies dedicated to environmental protection. To think through how race and racism are embedded in the processes that underlie the Anthropocene, I reframe three key terms of engagement to analyze with greater rigor contemporary criminal anthroposcenes (i.e. scenes constituted by the inextricable enmeshing of crime and anthropogenic climate change): (1) climate and weather, (2) bodies and environments, and (3) anestheticization. Shaping a racial geography of dirty air, a climate of anti-Blackness in the US has been quietly impacting the health and lives of African Americans for centuries, so that the deadly impact of viral outbreaks can merge with existing modes of spectacular and slow violence. From the murder of George Floyd to the establishment of sacrifice zones, the complexity and messiness of recent breath-taking scenes of injustice are formed and maintained by a dangerous mixture of racial apathy and racially-charged violence.","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"19 1","pages":"3 - 19"},"PeriodicalIF":1.8,"publicationDate":"2022-03-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42640718","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 : 2022-03-01DOI: 10.1177/17416590221080798
Lisa Flower
{"title":"Book Review: Marc Schuilenburg, Hysteria: Crime, Media and Politics","authors":"Lisa Flower","doi":"10.1177/17416590221080798","DOIUrl":"https://doi.org/10.1177/17416590221080798","url":null,"abstract":"","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"18 1","pages":"482 - 484"},"PeriodicalIF":1.8,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48926919","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 : 2022-03-01DOI: 10.1177/17416590211009327
Holly Dempsey
practices of the working class” (p. 144). McQuade frames their dialectic relation with police power as the essential contradiction of security. The chapter analyzes three regional ILP initiatives that disrupt moral economies of poverty: multiagency drug war operations; landlord training, trespass affidavit, and narcotics eviction programs; and secondhand dealer laws. McQuade provocatively claims moral economies of poverty may be more threatening than political movements. The book concludes with a reflection on contemporary abolitionist movements in Chicago and a return to Camden. Here, McQuade uses interviews conducted with community organizers and activists, and observations from his ride-along with a Camden police officer to problematize the narrative about Camden’s “success” with crime reduction (the “Camden model”). McQuade queries how abolitionist’s “non-reformist reforms” and his own analysis might inform future accounts of police power. I end with a note on the book’s appendix on research methods. As of now, Pacifying the Homeland is the only book about fusion proper. McQuade’s account of how he obtained access is instructive for other researchers. It also illuminates that research about fusion matters to the extent it can speak to fusion’s organic priorities and specific materializations. The book’s widereaching interviewing (82 people total) is apt, itself reflecting fusion’s decentralized operations. McQuade does not just probe two fusion centers; he provides a critical framework for how to address developments of mass supervision irreducible to and including fusion. After reading McQuade’s uncompromising book, one might feel that fusion centers’ closure is a modest goal, even. As forces of pacification structurally reinforce policing’s mandate for routinized violence, radical anti-pacification orientations are vital.
{"title":"Book Review: Jamie Bennett and Victoria Knight, Prisoners on Prison Films","authors":"Holly Dempsey","doi":"10.1177/17416590211009327","DOIUrl":"https://doi.org/10.1177/17416590211009327","url":null,"abstract":"practices of the working class” (p. 144). McQuade frames their dialectic relation with police power as the essential contradiction of security. The chapter analyzes three regional ILP initiatives that disrupt moral economies of poverty: multiagency drug war operations; landlord training, trespass affidavit, and narcotics eviction programs; and secondhand dealer laws. McQuade provocatively claims moral economies of poverty may be more threatening than political movements. The book concludes with a reflection on contemporary abolitionist movements in Chicago and a return to Camden. Here, McQuade uses interviews conducted with community organizers and activists, and observations from his ride-along with a Camden police officer to problematize the narrative about Camden’s “success” with crime reduction (the “Camden model”). McQuade queries how abolitionist’s “non-reformist reforms” and his own analysis might inform future accounts of police power. I end with a note on the book’s appendix on research methods. As of now, Pacifying the Homeland is the only book about fusion proper. McQuade’s account of how he obtained access is instructive for other researchers. It also illuminates that research about fusion matters to the extent it can speak to fusion’s organic priorities and specific materializations. The book’s widereaching interviewing (82 people total) is apt, itself reflecting fusion’s decentralized operations. McQuade does not just probe two fusion centers; he provides a critical framework for how to address developments of mass supervision irreducible to and including fusion. After reading McQuade’s uncompromising book, one might feel that fusion centers’ closure is a modest goal, even. As forces of pacification structurally reinforce policing’s mandate for routinized violence, radical anti-pacification orientations are vital.","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"18 1","pages":"152 - 155"},"PeriodicalIF":1.8,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/17416590211009327","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65489283","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 : 2022-02-22DOI: 10.1177/17416590221080791
Nickie D. Phillips
{"title":"Book Review: Justin R. Ellis, Policing Legitimacy: Social Media, Scandal and Sexual Citizenship","authors":"Nickie D. Phillips","doi":"10.1177/17416590221080791","DOIUrl":"https://doi.org/10.1177/17416590221080791","url":null,"abstract":"","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"18 1","pages":"330 - 332"},"PeriodicalIF":1.8,"publicationDate":"2022-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43864765","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 : 2022-02-14DOI: 10.1177/17416590221077478
T. Marriott
of with Anthony’s retina;
安东尼的视网膜；
{"title":"Film review: All Light, Everywhere","authors":"T. Marriott","doi":"10.1177/17416590221077478","DOIUrl":"https://doi.org/10.1177/17416590221077478","url":null,"abstract":"of with Anthony’s retina;","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"1 1","pages":""},"PeriodicalIF":1.8,"publicationDate":"2022-02-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45072173","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 : 2022-01-06DOI: 10.1177/17416590211059135
Kjetil Hjørnevik, Leif Waage, A. Hansen
Despite the strong relationships evidenced between music and identity little research exists into the significance of music in prisoners’ shifting sense of identity. This article explores musicking as part of the ongoing identity work of prisoners in light of theory on musical performance, narrative and desistance and discusses implications for penal practice and research. Through the presentation of an ethnographic study of music therapy in a low security Norwegian prison we show how participation in music activities afforded congruence between the past, the present and the projected future for participants by way of their unfolding musical life stories. Complementing existing conceptualisations of music as an agent for change, our study suggests that musicking afforded the maintenance of a coherent sense of self for participating prison inmates, whilst offering opportunities for noncoercive personal development. We argue that research into musicking in prison offers fruitful ways of tracing how the complexities inherent in processes of change are enacted in everyday prison life, and that it can advance our knowledge of relationships between culture, penal practice and desistance.
{"title":"Musical life stories: Coherence through musicking in the prison setting","authors":"Kjetil Hjørnevik, Leif Waage, A. Hansen","doi":"10.1177/17416590211059135","DOIUrl":"https://doi.org/10.1177/17416590211059135","url":null,"abstract":"Despite the strong relationships evidenced between music and identity little research exists into the significance of music in prisoners’ shifting sense of identity. This article explores musicking as part of the ongoing identity work of prisoners in light of theory on musical performance, narrative and desistance and discusses implications for penal practice and research. Through the presentation of an ethnographic study of music therapy in a low security Norwegian prison we show how participation in music activities afforded congruence between the past, the present and the projected future for participants by way of their unfolding musical life stories. Complementing existing conceptualisations of music as an agent for change, our study suggests that musicking afforded the maintenance of a coherent sense of self for participating prison inmates, whilst offering opportunities for noncoercive personal development. We argue that research into musicking in prison offers fruitful ways of tracing how the complexities inherent in processes of change are enacted in everyday prison life, and that it can advance our knowledge of relationships between culture, penal practice and desistance.","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"19 1","pages":"74 - 94"},"PeriodicalIF":1.8,"publicationDate":"2022-01-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44017149","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 : 2021-11-02DOI: 10.1177/17416590211056526
Maria Elander
Genocide films have long contributed to public criminology’s exploration into ethics, responsibility and witnessing after atrocity. Whereas post-Holocaust theorisations of testimony have focused on victim testimony (and its limits), a recent wave of documentary films are instead centering on the perpetrators of atrocity. These are raising the question of how to engage with that shared by a person who experienced an atrocity not as its victim but as its perpetrator. This article examines this question through a close reading of Rithy Panh’s documentary film S21: The Khmer Rouge Killing machine (2003), a film that ‘compare[s] eye-witness accounts’ of a handful of men who all experienced notorious Khmer Rouge security centre S-21 either as its prisoners or its staff. I suggest that the confrontations and the bodily gestures by the former staff in S21 constitute forms of testimony, something which has implications for the understanding of both testimony and responsibility, as well as for the positionality of the spectator. The film, I suggest, provides a way to listen to the experiences of the perpetrators of the atrocity, without diminishing the suffering they caused.
{"title":"Taking responsibility: Testimonial practices in Rithy Panh’s S21: The Khmer Rouge Killing Machine","authors":"Maria Elander","doi":"10.1177/17416590211056526","DOIUrl":"https://doi.org/10.1177/17416590211056526","url":null,"abstract":"Genocide films have long contributed to public criminology’s exploration into ethics, responsibility and witnessing after atrocity. Whereas post-Holocaust theorisations of testimony have focused on victim testimony (and its limits), a recent wave of documentary films are instead centering on the perpetrators of atrocity. These are raising the question of how to engage with that shared by a person who experienced an atrocity not as its victim but as its perpetrator. This article examines this question through a close reading of Rithy Panh’s documentary film S21: The Khmer Rouge Killing machine (2003), a film that ‘compare[s] eye-witness accounts’ of a handful of men who all experienced notorious Khmer Rouge security centre S-21 either as its prisoners or its staff. I suggest that the confrontations and the bodily gestures by the former staff in S21 constitute forms of testimony, something which has implications for the understanding of both testimony and responsibility, as well as for the positionality of the spectator. The film, I suggest, provides a way to listen to the experiences of the perpetrators of the atrocity, without diminishing the suffering they caused.","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"19 1","pages":"58 - 73"},"PeriodicalIF":1.8,"publicationDate":"2021-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48213688","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 : 2021-10-29DOI: 10.1177/17416590211053795
L. Wattis
The true crime genre has become synonymous with the serial killer. As such, other narratives dealing with different types of violent criminal subjects have been overlooked in academic and media analyses. The following article explores a subgenre of true crime which has been overlooked—the life story of the violent criminal or “hardman biography.” However, in acknowledging the hardman, the discussion also reveals his presence across fact/fiction boundaries and a range of cultural terrain. Following a discussion of the cultural space this figure occupies, I turn my attention to hardman stories which exist predominantly in the local imaginary and focus on one such text which tells the story of a violent protagonist and cultures of crime and violence in the North of England in the late 1980s and early 1990s. In so doing, I focus on how this text animates cultures of violence and marginality left in the wake of deindustrialization and economic decline, combining this with relevant theoretical and ethnographic work. I conclude by arguing that the text is a further example of the way in which popular criminology can complement and advance academic criminological understandings of crime and violence.
{"title":"The cultural scope and criminological potential of the “hardman story”","authors":"L. Wattis","doi":"10.1177/17416590211053795","DOIUrl":"https://doi.org/10.1177/17416590211053795","url":null,"abstract":"The true crime genre has become synonymous with the serial killer. As such, other narratives dealing with different types of violent criminal subjects have been overlooked in academic and media analyses. The following article explores a subgenre of true crime which has been overlooked—the life story of the violent criminal or “hardman biography.” However, in acknowledging the hardman, the discussion also reveals his presence across fact/fiction boundaries and a range of cultural terrain. Following a discussion of the cultural space this figure occupies, I turn my attention to hardman stories which exist predominantly in the local imaginary and focus on one such text which tells the story of a violent protagonist and cultures of crime and violence in the North of England in the late 1980s and early 1990s. In so doing, I focus on how this text animates cultures of violence and marginality left in the wake of deindustrialization and economic decline, combining this with relevant theoretical and ethnographic work. I conclude by arguing that the text is a further example of the way in which popular criminology can complement and advance academic criminological understandings of crime and violence.","PeriodicalId":46658,"journal":{"name":"Crime Media Culture","volume":"19 1","pages":"40 - 57"},"PeriodicalIF":1.8,"publicationDate":"2021-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49599110","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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