Beads, Bodies, and Trash

Video Methods, Green Cultural Criminology, and the Anthropocene: SANCTUARY as a Case Study

“…Movies and academic publications are branded, packaged and sold as a commodity; both are consumed by their recipients; and both generate income for the distributor and publishersome more so than others. Documentary criminology can hold contradictory positions: it can be anti-consumerist while also functioning as a commodity to undo harm (see Redmon 2015). The question for my approach to documentary criminology is how to tap into existing modes of dissemination in order to further make research available -whether it's free on Youtube or purchased on Netflix or iTunes.…”

Documentary Criminology: Expanding the Criminological Imagination with “Mardi Gras—Made in China” as a Case Study (23 Minutes)

“…This article builds on previous research in visual criminology to demonstrate how an emerging "documentary criminology" actively interprets, crafts, and depicts lived experience with ethnographic sensibilities [1][2][3][4][5][6][7][8][9][10][11][12][13][14][15][16][17][18]. Mardi Gras: Made in China is cited as a case study in documentary criminology that crafts and depicts ethnographic knowledge alongside written knowledge [19][20][21][22][23][24][25][26][27][28][29][30][31][32].…”

“…Criminological filmmaking explores, records, and crafts these aesthetic experiences into a documentary with interpretive sensibilities and cinematic conventions that can be disseminated as public criminology. The documentary is an innovative object and also a vibrant representation of knowledge in the public sphere [1]. Documentary criminology therefore creates a vibrant object (e.g., the documentary itself) that can be digitally disseminated as public criminology in various audiovisual formats and popular venues.…”

Documentary criminology:Girl Modelas a case study

“…Documentary criminology attempts to address this limitation by articulating an audiovisual, ethnographic immediacy (Redmon, 2015b) that inflects multimodal, unplanned experiences across topographical spaces while also accounting for the possibility of drift (Ferrell, 2017). Filmmaking methods enhance the lived experiences of sonic and spatial environments (Campbell, 2012, 2013; Hayward, 2012; Redmon, 2015a); experiences of transgression originating in taste (Howes, 2013), touch (MacDougall, 2006; Redmon, 2015a), smell (Henshaw, 2013) and sight (Carrabine, 2012) are also integrated. Documentary criminology crafts these sensory experiences as part of a wider narrative that complements textual representation.…”

“…But what if both forms of knowledge could be combined? Young’s work implies that video methods can maximise sensuous and affective knowledge to connect bodies by directly involving viewers in the experience of the documentary (Young, 2014: 161; Redmon, 2015a). As sensory conduits, documentaries offer vibrant encounters; often, the relationships that develop between audiences and documentaries exceed or circumvent the filmmaker’s intentions (Young, 2014).…”