How to humiliate and shame: A reporter's guide to the power of the mugshot

This is an Author's Accepted Manuscript of an article published in Social Semiotics, 24(1), 56-87, 2014, copyright Taylor & Francis, available online at: http://www.tandfonline.com/The judicial photograph – the “mugshot” – is a ubiquitous and instantly recognisable form, appearing in the news media, on the internet, on book covers, law enforcement noticeboards and in many other mediums. This essay attempts to situate the mugshot in a historical and theoretical context to explain the explicit and implicit meaning of the genre as it has developed, focussing in particular on their use in the UK media in late modernity. The analysis is based on the author's reflexive practice as a journalist covering crime in the national news media for 30 years and who has used mugshots to illustrate stories for their explicit and specific content. The author argues that the visual limitations of the standardised “head and shoulders” format of the mugshot make it a robust subject for analysing the changing meaning of images over time. With little variation in the image format, arguments for certain accreted layers of signification are easier to make. Within a few years of the first appearance of the mugshot form in the mid-19th century, it was adopted and adapted as a research tool by scientists and criminologists. While the positivist scientists claimed empirical objectivity we can now see that mugshots played a part in the construction of subjective notions of “the other”, “the lesser” or “sub-human” on the grounds of class, race and religion. These dehumanising ideas later informed the theorists and bureaucrats of National Socialist ideology from the 1920s to 1940s. The author concludes that once again the mugshot has become, in certain parts of the media, a signifier widely used to exclude or deride certain groups. In late modernity, the part of the media that most use mugshots – the tabloid press and increasingly tabloid TV – is part of a neo-liberal process that, in a conscious commercial appeal to the paying audience, seeks to separate rather than unify wider society

Identifying potential terrorists: visuality, security and the channel project

This article analyses how British counter-radicalization policy in general, and the Channel project in particular, constitute individuals who are vulnerable to radicalization as visible, producing them as subjects of intervention. It thus asks, how can potential terrorists be identified and made knowable? The article first argues that to understand Channel, it is crucial to develop a conceptual account of the security politics of (in)visibilization that draws attention to the ways in which security regimes can, at times, function primarily through the production of regimes of (in)visibility. Using this approach, the article focusses on the role of ‘indicators’ as a technology of (in)visibilization. This role is central to the functioning of Channel, visibilizing certain subjects as threatening. Yet such a production is political. In bringing together a politics of care and a politics of identity, it is a regime of (in)visibility that produces new sites of intervention, contains significant potential consequences for the expression of certain identities, and raises new and troubling possibilities for how contemporary life may be secured

Aesthetics of protest: An examination of the photojournalistic approach to protest imagery

Images of protests and demonstrations are crucial to both social movements and protesters who wish to communicate their identity and their messages to wider audiences. However, the photographing of such political events by press photographers is a complex process. The current analysis focuses on questions of aesthetics surrounding issues of visuality regarding protests and demonstrations. Based on empirical data from 17 semi-structured in-depth interviews with Greek photojournalists, this paper examines what is photographed during a protest and how this is affected by the photojournalists’ aesthetic criteria. Drawing on scholarly work on photojournalism (Ritchin and Åker) and photography (Sontag), this article discusses that besides the presumption in the principal of recording reality, photojournalists’ practice is also infused with subjective language and influenced by art photographers’ techniques. Thereupon, the main argument of this paper is that the employment of hybridized photographing practices by photojournalists can have an impact upon their visual decisions with regard to what and how is photographed during a protest. The product of such practices is usually high quality, captivating images with apparent affective qualities

Information Warfare and New Organizational Landscapes: An Inquiry into the ExxonMobil–Greenpeace Dispute over Climate Change

A defining characteristic of the emergence of new organizational landscapes is that information is not just being used as a tool by organizations, as it is more usually understood, but also as a weapon in a ?war of position?. As organizations seek to influence public perception over such emotive issues as climate change, conflict at the ideation level can give rise to information warfare campaigns. In this article, we analyse the ways in which ExxonMobil and Greenpeace employ distinctive informational tactics against a range of diverse targets in their dispute over the climate change debate. The purpose of this article is to advance the neo-Gramscian perspective on social movement organizations as a framework for understanding such behaviour. We argue that information warfare is likely to become common as corporations and non-governmental organizations are increasingly sensitive to their informational environment as a source of both opportunity and possible conflict