Staging women in prisons: Clean Break Theatre Company’s dramaturgy of the cage

The article explores the limitations of the dramaturgies of the cell through a close reading of several key play texts commissioned by the UK’s leading arts in criminal justice organisation working with women, Clean Break. The apparently humanist positioning of women in prison as just like everyone else erases the specificity of women’s backstories. Conversely, by adhering to the constructions of female prisoners as holding binary positions of either ‘monsters’ or ‘victims’ of the system, plays can re-inscribe morally unitary approaches to women’s deviance and resistance. Many plays about women in prison hold a claim for resisting stereotypes and are in opposition to the injustice of criminal justice processes, and yet, in the realist mode, the monster/ victim position seems to be an inescapable binary

Punishment in the Frame: Rethinking the History and Sociology of Art

Images of punishment have featured prominently in Western art and this article explores what might be learnt from studying such pictures of suffering. It seeks to develop an approach to the visual that avoids both the essentialism of art history and the reductionism of sociology by offering a rethinking of the relationships between the two. It begins by setting out the current state of the sociology of art, before discussing ‘new’ art histories that are inspired by social analysis. It then concentrates on how images of punishment have featured in Western art. This substantive material provides a rich resource to understand the force of representation and offers an opportunity to develop an aesthetic sociology that avoids some of the problems identified in the article. The approach developed in the second part is one that seeks to elaborate an aesthetic sociology that combines a historical sensitivity to images with the analytical concerns of social science. It strives to extend the art historian Michael Baxandall’s writings toward more sociological interpretations of visual analysis

Documentary criminology: Girl Model as a case study

Visual and cultural criminology are integrated with documentary filmmaking to develop a theoretically grounded, practice-based approach called ‘documentary criminology’. The first section establishes the need for documentary filmmaking in criminology and outlines methodological opportunities. The second section examines theoretically the aesthetics and substance of documentary criminology. The third section takes the film Girl Model (Redmon and Sabin, 2011) as a case study to demonstrate how documentary criminology embedded in lived experience (in this case, the experience of scouts that recruit young Russian girls, purportedly for the modelling industry) can depict sensuous immediacy. The final section contrasts the aesthetic and ethical consequences of documentary criminology within Carrabine’s (2012, 2014) concept of ‘just’ images to a documentary filmmaking approach that remains interpretively open-ended. Readers can access Girl Model at https://vimeo.com/29694894 with the password industry

Geographies of landscape: Representation, power and meaning

Green criminology has sought to blur the nature-culture binary and this article seeks to extend recent work by geographers writing on landscape to further our understanding of the shifting contours of the divide. The article begins by setting out these different approaches, before addressing how dynamics of surveillance and conquest are embedded in landscape photography. It then describes how the ways we visualize the Earth were reconfigured with the emergence of photography in the 19th century and how the world itself has been transformed into a target in our global media culture

Traces of violence: Representing the atrocities of war

This article explores the relationships between war and representation through the use of visual images, and takes a cue from the French cultural theorist Paul Virilio, who has written extensively on the militarization of vision in ways that have yet to be fully recognized in criminology. It then outlines some of the disputes surrounding documentary photography, not least since one of the main factors driving the development of the medium was the desire to record warfare, before turning to recent efforts to reconfigure the violence of representation by focusing on what has been termed ‘aftermath photography’, where practitioners deliberately adopt an anti-reportage position, slowing down the image-making process and arriving well after the decisive moment. This more contemplative strategy challenges the oversimplification of much photojournalism and the article concludes by reflecting on how military-turned-consumer technologies are structuring our everyday lives in more and more pervasive ways

Corporate environmental responsibility and criminology

This article addresses corporate environmental responsibility (CER) and aims to present a criminological analysis of it. We studied the opinion of a number of principle actors involved in CER in Europe in order to determine how they perceive it in terms of its definition, aetiology and approaches. For each of these dimensions we relate back to a criminological framework to ascertain how it is positioned in the green criminological debate. We start out by providing information on what corporate environmental responsibility is and how it relates to corporate social responsibility and sustainable development. Then we outline the theoretical framework in accordance with the three central themes for the criminological analysis of CER: definition, aetiology and approaches. We also explain the method that was used (semi-structured interviews). Next, we present the results according to the same threefold structure. Finally we discuss these results in a last part, which is divided in two. First, we look at the challenges that the criminological perspective poses for CER in terms of definition, aetiology and approaches. The second part of the discussion turns the question around and wonders how CER could contribute to greening criminology

Breaking bad, making good: notes on a televisual tourist industry

This article explores emerging intersections between the consumption of mediated popular culture and the real and imagined topographies within which those representations are framed. Through an examination of the ‘televisual tourism’ centred around the successful TV series Breaking Bad, we scrutinise the multiple modes of sensorial and embodied travel experience enjoyed by fans of the show as they consume their way around the show’s sites, scenes, and tastes in the city of Albuquerque . This exploitation of media textuality through fan tourism is, we suggest, centred upon a carefully managed commodification of crime, criminality and transgression

Spectacular law and order: photography, social harm, and the production of ignorance

This book discusses the concept of 'agnosis' and its significance for criminology through a series of case studies, contributing to the expansion of the criminological imagination. Agnotology – the study of the cultural production of ignorance, has primarily been proposed as an analytical tool in the fields of science and medicine. However, this book argues that it has significant resonance for criminology and the social sciences given that ignorance is a crucial means through which public acceptance of serious and sometimes mass harms is achieved. The editors argue that this phenomenon requires a systematic inquiry into ignorance as an area of criminological study in its own right. Through case studies on topics such as migrant detention, historical institutionalised child abuse, imprisonment, environmental harm and financial collapse, this book examines the construction of ignorance, and the power dynamics that facilitate and shape that construction in a range of different contexts. Furthermore, this book addresses the relationship between ignorance and the achievement of ‘manufactured consent’ to political and cultural hegemony, acquiescence in its harmful consequences and the deflection of responsibility for them