Commercializing success: the impact of popular media on the career decisions and perceptual accuracy of criminal justice students

Barthe, Emmanuel; Leone, Matthew C.; Lateano, Thomas A.

doi:10.1080/13562517.2012.694099

Cited by 22 publications

(31 citation statements)

References 16 publications

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“…The present research differed from the US studies cited earlier which are quantitative and correlational in methodology (Barthe et al, 2013;Robbers, 2007). Rather, given the ubiquity of crime drama and the fact that the participants were criminal justice students, the aim was to explore the ways the participants described their interactions with crime media, and the kinds of associations they made between fictional crime and other aspects of their lives.…”

Section: The Current Studycontrasting

confidence: 88%

“…Nor did they take the opportunity to talk about their career plans as these might have related to their viewing preferences. There is little indication in the findings that crime dramas were leading the participants astray in terms of misinforming them about criminal justice philosophies and practices, a core criticism of Barthe et al (2013).…”

Section: Crime Drama and Professional Identitiesmentioning

confidence: 95%

“…While the Liebes and Katz model is part and parcel of media studies theorising, and has seen modification over the years, it is not difficult to see how some conception of a developmental hierarchy in consumer responses also underpins criminological critiques of crime entertainment, critiques that are replete with references to 'emotional manipulation', 'misinformation', and 'sensationalist appeal' (recall the critiques of Barthe et al, 2013;Robbers, 2007). Mainstream criminologists by and large remain professionally wary of the emotional attractions and entanglements of crime fictions.…”

Section: Crime Drama Emotion and Reflectionmentioning

confidence: 99%

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Meaning-making and crime drama: the case of criminology students

Wimshurst

2018

Media International Australia

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Criminology as a discipline maintains an ambivalent attitude toward mass media. Following from Clifford and White's (2017) call for a more nuanced approach to media criminology, the first section of the article contextualises the present study by outlining the uneasy relationship between mainstream criminology and crime drama. The second section explores themes that arose during research that invited criminal justice students to create an outline for a television crime series that they would enjoy watching themselves. The experience of creating and talking about their crime fictions prompted the participants to reflect on aspects of their own lives in some detail, but relatively little on crime per se. Crime drama, including their own creations, provided the participants with an anchor to talk broadly about subjectivities and identities. The piece concludes with observations on the place of emotional engagement when consumers reflect on crime drama. 2 Meaning-making and crime drama: The case of criminology students Introduction: Criminologists and mass media The term 'popular criminology' was popularised by media criminologist Nicole Rafter (2007) to refer to the ways in which people develop their views about crime and justice. She noted that crime entertainment was central to these public understandings, and argued that: 'The two types of criminology, popular and academic, complement one another, each contributing in its own way to understandings of crime' (2007: 415). Thus, by strong implication, criminologists could not afford to treat mass media representations of crime as simply inferior entities. Interestingly, in view of Rafter's emphasis on complementarity, even the most empathetic surveys of media criminology suggest that, in the main, popular criminology and crime media in particular, continue to be seen by criminologists as marginal to the real business of scholarly criminology (Kohm, 2017; Wakeman, 2016). The cautious approach to scholarly analysis of fictional crime confirms Lam's (2014) observation that academic criminologists are more interested in 'corrective criticism' than in understanding the complexities of crime media production and consumption, or in understanding the ways crime drama is absorbed into the lives of audiences. Rather, corrective criticism tends 'to treat popular cultural representations as first and foremost inaccurate representations about crime or as questionable matters of fact' (p. 171). Media criminology, or the study of the ways in which crime media saturate and inform our lives and, in turn, the ways we interact with media, remains a relatively underdeveloped field of scholarship in Australia. Some topics are receiving increasing attention; for example, work here has tended to concentrate on the criminological implications of the uses and abuses of

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Section: The Current Studycontrasting

confidence: 88%

Section: Crime Drama and Professional Identitiesmentioning

confidence: 95%

Section: Crime Drama Emotion and Reflectionmentioning

confidence: 99%

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Meaning-making and crime drama: the case of criminology students

Wimshurst

2018

Media International Australia

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“…Researchers have studied the impact of crime television shows on issues such as enrolment and major choice (see Barthe, Leone and Lateano 2013). Television crime shows also influence student perceptions on issues within the criminal justice system, such as guilt or innocence of the accused, freeing defendants on technicalities and offence clearance rates (Barthe Leone and Lateano 2013).…”

Section: University-based Research On Attitudes Towards Policementioning

confidence: 99%

‘There’s Gonna Be Bad Apples’: Police–Community Relations through the Lens of Media Exposure Among University Students

Levan¹,

stevenson²

2019

Int J for Crime, Justice & Social Democracy

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Recently, increased media attention has been given to tensions between law enforcement officers and the communities they police. An individuals’ opinions of law enforcement agencies may be formed from various areas, including their exposure to various forms of media. Here, we are interested in the types of media students are exposed to (particularly social media, television news, crime-related television shows). Through interviews with undergraduate students, we seek to understand how both an individual’s demographic characteristics and their media consumption contribute to how perceptions are formed on issues related to violence perpetrated by law enforcement, as well as against law enforcement. Future studies can build on the initial findings and be conducted on a broader range of community members.

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“…This study investigates criminal justice student's perceptions of human trafficking, and explores where those perceptions originate. Barthe et al (2013) found that criminal justice students can be influenced by media depictions of the criminal justice system to choose criminal justice as college major. In this study I will uncover the way that media depictions of human trafficking have influenced the perceptions criminal justice students have of human trafficking, and I will situation those perceptions in relation to the data that is available on human trafficking.…”

Section: Chapter 1 Overview Introductionmentioning

confidence: 99%

Human trafficking: as viewed through the eyes of criminal justice students

Haroldson¹

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Commercializing success: the impact of popular media on the career decisions and perceptual accuracy of criminal justice students

Cited by 22 publications

References 16 publications

Meaning-making and crime drama: the case of criminology students

Meaning-making and crime drama: the case of criminology students

‘There’s Gonna Be Bad Apples’: Police–Community Relations through the Lens of Media Exposure Among University Students

Human trafficking: as viewed through the eyes of criminal justice students

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