Just Images: Aesthetics, Ethics and Visual Criminology

Carrabine, Eamonn

doi:10.1093/bjc/azr089

Cited by 149 publications

(110 citation statements)

References 7 publications

Supporting

Mentioning

109

Contrasting

Unclassified

Order By: Relevance

“…At the same time, they serve indirectly to highlight the monstrosity of the offender and the extent to which that monstrosity should inform a retributive justice process (Pickett et al, 2013). In Western culture so attuned to the visual (Carrabine, 2012;Young, 2014), photographs simultaneously humanise and memorialise crime victims, creating affective connections between image and spectator, victim and viewer, with potential to evoke a more visceral and emotionally charged reaction than might be produced by words alone.…”

Section: Newsworthiness Crime Victims and The Visualmentioning

confidence: 99%

News Media, Victims and Crime

Greer¹

2007

Victims, Crime and Society

141

136

View full text Add to dashboard Cite

Section: Newsworthiness Crime Victims and The Visualmentioning

confidence: 99%

News Media, Victims and Crime

Greer¹

2007

Victims, Crime and Society

141

136

View full text Add to dashboard Cite

“…To address these gaps, we situate our study within cultural criminology's burgeoning interest in the politics and power of crime-related images (Hayward & Presdee, 2010;Young, Ferrell, & Hayward, 2008) and a visual criminology that critically examines the ways 'the "story" of crime is told as much today through the visual image as through the written word' particularly with the explosion of new media and proliferation of digital images (Brown, 2014;Carrabine, 2011Carrabine, , 2012Francis, 2012, p. 10;Hayward, 2009;Schept, 2014). Finally, we seek to take up the much-needed work of providing an intersectional analysis that pays attention to whiteness and femininity, in line with critical criminologists and feminist criminologists who have long sought to understand power and its attendant privileges (Barak, Leighton, & Flavin, 2010;Burgess-Proctor, 2006;Chesney-Lind, 2006;Crenshaw, 1991;Daly, 1993;Daly & Stephens, 1995;Henne & Troshynski, 2013).…”

Section: Gendered Boundary Maintenancementioning

confidence: 99%

‘She’s White and She’s Hot, So She Can’t Be Guilty’: Female Criminality, Penal Spectatorship, and White Protectionism

Dirks

Heldman

Zack

2015

Contemporary Justice Review

View full text Add to dashboard Cite

Despite mainstream criminology's burgeoning interest in issues of race, class, and gender, very little scholarship has examined whiteness and its attendant privileges in understanding public discourse on criminal offenders. This paper examines the role of penal spectatorship as a discursive mechanism by which white, female offenders are protected in public spaces by virtue of their racial and gender identity. Using a content analysis of comments posted on the mug shot images of white women on a popular 'mug shot website,' we find that these women are viewed as victims of circumstance deserving of empathy and redemption rather than as criminals. We offer 'white protectionism' as a means by which whites extend privilege and protection to other whites who transverse the boundaries of whiteness through criminality to guard against 'deviant' or 'criminal' designations. These findings add to our understandings of penal spectatorship as yet another tool of white supremacy operating in the Post-Civil Rights era of mass incarceration. scholarship demonstrates that white women offenders are depicted as less culpable and more capable of reform as compared to women of color (). Yet, little is understood of how this privileging is accomplished beyond media coverage. We take up these questions in looking at broader public discourse in the form of online comments in order to understand how white women's offending is perceived, discussed, and reconciled.

show abstract

“…Of course, many have examined this relationship between seemingly objective photographic depiction and the politics of representation, or what Hall (1981: 238) has called 'an index of an ideological theme'. Perhaps most compelling are those who situate representational politics in their colonial histories (see Carrabine, 2012;Ryan, 1997;Said, 1978) and who reveal the colonial present (Gregory, 2004) that photographs of particular phenomena further instantiate (Rodriguez, 2006). 12 Mapped onto the 'criminal', scholars have recognized a similar relationship between photographic portrayal and hegemonic representation, or what Carney (2010: 18) has called the 'social practice of production'.…”

Section: Visuality Epistemology Photographymentioning

confidence: 99%

(Un)seeing like a prison: Counter-visual ethnography of the carceral state

Schept

2014

Theoretical Criminology

100

View full text Add to dashboard Cite

While prisons proliferate in the rural landscape and sites of penal tourism expand, the carceral state structures the available visual and analytic vantages through which to perceive this growing visibility. Using examples from fieldwork in Kentucky, including Appalachian prison communities and a site of penal tourism, this article proposes 'counter-visual' ethnography to better perceive the ideological work that the carceral state performs in the spatial and cultural landscape. A counter-visual ethnography retrains our eyes to see that which is not 'there' but which structures the contemporary empirical realities we observe, record, and analyze: the ghosts of racialized regimes past, the sediment of dirty industry that seeps into and imbues the present, and the transhistorical and trans-local circulation of carceral logics and epistemologies. In addition, this article suggests the important role images play in shaping alternative vantages from which to better perceive the carceral state with historical, spatial, and political acuity.Legibility implies a viewer whose place is central and whose vision is synoptic. State simplifications of the kind we have examined are designed to provide authorities with a schematic view of their society, a view not afforded to those without authority. Rather like the US highway patrolmen wearing mirrored sunglasses, the authorities enjoy Article Schept 199 a quasi-monopolistic picture of the selected aspects of the whole society. This privileged vantage point is typical of all institutional settings where command and control of complex human activities is paramount. The monastery, the barracks, the factory floor, and the administrative bureaucracy (private or public) exercise many state like functions and often mimic its information structure as well.

show abstract

Just Images: Aesthetics, Ethics and Visual Criminology

Cited by 149 publications

References 7 publications

News Media, Victims and Crime

News Media, Victims and Crime

‘She’s White and She’s Hot, So She Can’t Be Guilty’: Female Criminality, Penal Spectatorship, and White Protectionism

(Un)seeing like a prison: Counter-visual ethnography of the carceral state

Contact Info

Product

Resources

About