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This text argues for the usefulness of fictional realities for criminological theorizing and analysis. It illustrates that a creative and critical social scientific practice requires craft norms rather than commercial norms that threaten to completely colonize higher education.
In spite of its widespread use within criminology, the term ’criminological imagination’, as derived from C. Wright Mills’ classic The Sociological Imagination, has yet to be fully developed and clarified as an analytic concept capable of guiding theorizing or empirical enquiry. This volume, with a preface by Elliot Currie, engages with and reflects on this concept, exploring C. Wright Mills’ work for criminological enquiry. Bringing together the latest work of leading scholars in the fields of criminology and sociology from around the world, C. Wright Mills and the Criminological Imagination investigates the emergence and lineage of a criminological concept indebted to Mills’ thought, adapting and applying it to a specifically criminological context. With attention to theoretical concerns and, as well as the application of the criminological imagination in concrete empirical research, this volume sheds new light on the methodological and analytical aspects of the criminological imagination as a multifaceted concept and explores the possibilities that it offers for the emergence of an imaginative criminological practice. As such, it will appeal to scholars across the social sciences with interests in sociology and social theory, criminology, criminal justice studies, law and research methods.
This cutting-edge edited collection brings together 17 scholarly essays on two of cinema and television’s most enduring and powerful themes: law and crime. With contributions by many of the most prominent scholars in law, sociology, criminology, and film, Framing Law and Crime offers a critical survey of a variety of genres and media, integrating descriptions of technique with critical analysis, and incorporating historical and socio-political critique. The first set of essays brings together accounts of the history of the Law and Cinema Movement; the groundbreaking genre of “post-apocalyptic fiction;” and the policy-setting genesis of a Canadian documentary. The second section of the book turns to the examination of a range of international or global films, with an eye to assessing the strengths, frailties, and possible functions of law, as depicted in fictional cinema. After an international focus in the second section, the third section focuses on law and crime in American film and television, inclusive of both fictional and documentary modes of narration. This section’s expansion beyond film narratives to include television series attempts to broaden the scope of the edited collection, in terms of media discussed; it is also a nod to how the big screen, although still a dominant force in American popular culture, now has to compete, to some extent, with the small screen, for influence over the collective American popular cultural imaginary. The fourth section, titled brings together various chapters that attempt to instantiate how a “Gothic Criminology” could be useful, as an interpretative framework in analyzing depictions of law and crime in film and television. The fifth and final section covers issues of pedagogy, epistemology, and ethics in relation to moving images of law and crime. Merging wide-ranging analyses with nuanced scholarly interpretations, Framing Law and Crime examines key concepts and showcases original research reflecting the latest interdisciplinary trends in the scholarship of the moving image. It addresses, not only scholars, but also fans, and will heighten the appreciation of connoisseurs and newcomers to these topics alike.
The Poetics of Crime provides an invitation to reconsider and reimagine how criminological knowledge may be creatively and poetically constructed, obtained, corroborated and applied. Departing from the conventional understanding of criminology as a discipline concerned with refined statistical analyses, survey methods and quantitative measurements, this book shows that criminology can - and indeed should - move beyond such confines to seek sources of insight, information and knowledge in the unexplored corners of poetically and creatively inspired approaches and methodologies. With chapters illustrating the ways in which criminologists and other researchers or practitioners working on crime-related questions can find inspiration in a variety of unconventional materials, writing styles and analytical strategies, The Poetics of Crime offers studies of police photography, classic and contemporary literature, silver screen movies, performative dance enactments and media images. As such, this volume opens up the field of criminological research to alternative and novel sources of knowledge about crime, its perpetrators and victims, authorities, motives and justice. It will therefore appeal not only to sociologists, social theorists and criminologists, but to scholars across disciplines with interests in crime, deviance and innovative approaches to social research.
Frank Pearce was the first scholar to use the term 'crimes of the powerful.' His ground-breaking book of the same name provided insightful critiques of liberal orthodox criminology, particularly in relation to labelling theory and symbolic interactionism, while making important contributions to Marxist understandings of the complex relations between crime, law and the state in the reproduction of the capitalist social order. Historically, crimes of the powerful were largely neglected in crime and deviance studies, but there is now an important and growing body of work addressing this gap. This book brings together leading international scholars to discuss the legacy of Frank Pearce’s book and his work in this area, demonstrating the invaluable contributions a critical Marxist framework brings to studies of corporate and state crimes, nationally, internationally and on a global scale. This book is neither a hagiography, nor a review of random areas of social scientific interest. Instead, it draws together a collection of scholarly and original articles which draw upon and critically interrogate the continued significance of the approach pioneered in Crimes of the Powerful. The book traces the evolution of crimes of the powerful empirically and theoretically since 1976, shows how critical scholars have integrated new theoretical insights derived from post-structuralism, feminism and critical race studies and offers perspectives on how the crimes of the powerful - and the enormous, ongoing destruction they cause - can be addressed and resisted.
For the last three decades Jock Young's work has had a profound impact on criminology. Yet, in this provocative new book, Young rejects much of what criminology has become, criticizing the rigid determinism and rampant positivism that dominate the discipline today. His erudite and entertaining examination of what's gone wrong with criminology draws on a range of research - from urban ethnography to sexology and criminal victimization studies - to illustrate its failings. At the same time, Young makes a passionate case for a return to criminology's creative and critical potential, partly informed by the new developments in cultural criminology. A late-modern counterpart to C.Wright Mills's classic The Sociological Imagination, this inspirational piece of writing from one of the most brilliant voices in contemporary criminology will command widespread attention. It will be essential reading for anyone who cares about the future of criminology, and the social sciences more generally.
Vincent Ruggiero's wide ranging study takes in several authors, including Victor Hugo, Camus, Cervantes and Emile Zola, and addresses themes such as organized crime, the links between crime and drugs, political and administrative corruption, concepts of deviancy and the criminal justice process.

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