Michelle Brown is Associate Professor of Sociology at the University of Tennessee, USA.Eamonn Carrabine is Professor of Sociology at the University of Essex, UK.

"This collection of original essays shows how quickly the visual landscape has become an integral part of an engaged and critical criminology. It is a breath-taking achievement and fitting testimony to the influence of the late Nicky Rafter."Piers Beirne, Professor in the Department of Criminology, Economics and Sociology, University of Southern Maine, USA"With its stress on emotion and affect, this book further extends the canon of cultural criminology and research in crime and media, developing a critically engaged approach to the study of visual imagery in criminology. Containing essays by established and emerging figures in the field, with topics ranging from formative ideas in visual criminology to emergent trends and new directions, the volume provides students, teachers and researchers with a wealth of textual and visual information. The book is premised on a view of crime images as inseparable from reality, and having a constitutive role in defining crime, determining its outcomes and consequences, and contributing to its legacies. Moreover, it suggests images of crime, punishment and control are infused with relations of power and resistance, meaning criminologists should take seriously the politics and ethics of visual representation, and consider how that might affect activism and interventions in criminal justice processes."Dr Greg Martin, Associate Professor of Socio-Legal Studies, University of Sydney, Australia, Editor of The Sociological Review and Associate Editor of Crime, Media, Culture"Brown, Carrabine and the contributing authors have produced a game-changing anthology that does more than offer incremental advances in knowledge and understanding. In situating established and emerging theoretical and methodological perspectives in a context of carefully framed ethical debate, The Routledge Handbook of Visual Criminology brings intellectual coherence to an entire subfield of

• Introducing Visual Criminology, Part I: Foundations – History, Theory Methods: Law, evidence and representation, Social science and visual culture, ""We never, never talked about photography"": Documentary photography, visual criminology, and method, Crime films and visual criminology, Key methods of visual criminology: An overview of different approaches and their affordances, Visions of legitimacy: Public criminology, the image and the legitimation of the carceral state, Carceral geography and the spatialization of carceral studies, Art and its unruly histories: Old and new formations, Part II: Images and Crime: Making the criminal visible: photography and criminality, Documentary criminology: A cultural criminological introduction, Going feral: Kamp Katrina as a case study of documentary criminology, Mediated suffering, Media, popular culture and the lone wolf terrorist: The evolution of targeting, tactics and violent ideologies, Representing the pedophile, Street art, graffiti and urban aesthetics, Risky business: Visual representations in corporate crime films, ../part contents

Michelle Brown is Associate Professor of Sociology at the University of Tennessee, USA.Eamonn Carrabine is Professor of Sociology at the University of Essex, UK.

"This collection of original essays shows how quickly the visual landscape has become an integral part of an engaged and critical criminology. It is a breath-taking achievement and fitting testimony to the influence of the late Nicky Rafter."Piers Beirne, Professor in the Department of Criminology, Economics and Sociology, University of Southern Maine, USA"With its stress on emotion and affect, this book further extends the canon of cultural criminology and research in crime and media, developing a critically engaged approach to the study of visual imagery in criminology. Containing essays by established and emerging figures in the field, with topics ranging from formative ideas in visual criminology to emergent trends and new directions, the volume provides students, teachers and researchers with a wealth of textual and visual information. The book is premised on a view of crime images as inseparable from reality, and having a constitutive role in defining crime, determining its outcomes and consequences, and contributing to its legacies. Moreover, it suggests images of crime, punishment and control are infused with relations of power and resistance, meaning criminologists should take seriously the politics and ethics of visual representation, and consider how that might affect activism and interventions in criminal justice processes."Dr Greg Martin, Associate Professor of Socio-Legal Studies, University of Sydney, Australia, Editor of The Sociological Review and Associate Editor of Crime, Media, Culture"Brown, Carrabine and the contributing authors have produced a game-changing anthology that does more than offer incremental advances in knowledge and understanding. In situating established and emerging theoretical and methodological perspectives in a context of carefully framed ethical debate, The Routledge Handbook of Visual Criminology brings intellectual coherence to an entire subfield of

• Introducing Visual Criminology, Part I: Foundations – History, Theory Methods: Law, evidence and representation, Social science and visual culture, ""We never, never talked about photography"": Documentary photography, visual criminology, and method, Crime films and visual criminology, Key methods of visual criminology: An overview of different approaches and their affordances, Visions of legitimacy: Public criminology, the image and the legitimation of the carceral state, Carceral geography and the spatialization of carceral studies, Art and its unruly histories: Old and new formations, Part II: Images and Crime: Making the criminal visible: photography and criminality, Documentary criminology: A cultural criminological introduction, Going feral: Kamp Katrina as a case study of documentary criminology, Mediated suffering, Media, popular culture and the lone wolf terrorist: The evolution of targeting, tactics and violent ideologies, Representing the pedophile, Street art, graffiti and urban aesthetics, Risky business: Visual representations in corporate crime films, ../part contents

Michelle Brown is Associate Professor of Sociology at the University of Tennessee, USA.Eamonn Carrabine is Professor of Sociology at the University of Essex, UK.

"This collection of original essays shows how quickly the visual landscape has become an integral part of an engaged and critical criminology. It is a breath-taking achievement and fitting testimony to the influence of the late Nicky Rafter."Piers Beirne, Professor in the Department of Criminology, Economics and Sociology, University of Southern Maine, USA"With its stress on emotion and affect, this book further extends the canon of cultural criminology and research in crime and media, developing a critically engaged approach to the study of visual imagery in criminology. Containing essays by established and emerging figures in the field, with topics ranging from formative ideas in visual criminology to emergent trends and new directions, the volume provides students, teachers and researchers with a wealth of textual and visual information. The book is premised on a view of crime images as inseparable from reality, and having a constitutive role in defining crime, determining its outcomes and consequences, and contributing to its legacies. Moreover, it suggests images of crime, punishment and control are infused with relations of power and resistance, meaning criminologists should take seriously the politics and ethics of visual representation, and consider how that might affect activism and interventions in criminal justice processes."Dr Greg Martin, Associate Professor of Socio-Legal Studies, University of Sydney, Australia, Editor of The Sociological Review and Associate Editor of Crime, Media, Culture"Brown, Carrabine and the contributing authors have produced a game-changing anthology that does more than offer incremental advances in knowledge and understanding. In situating established and emerging theoretical and methodological perspectives in a context of carefully framed ethical debate, The Routledge Handbook of Visual Criminology brings intellectual coherence to an entire subfield of

• Introducing Visual Criminology, Part I: Foundations – History, Theory Methods: Law, evidence and representation, Social science and visual culture, ""We never, never talked about photography"": Documentary photography, visual criminology, and method, Crime films and visual criminology, Key methods of visual criminology: An overview of different approaches and their affordances, Visions of legitimacy: Public criminology, the image and the legitimation of the carceral state, Carceral geography and the spatialization of carceral studies, Art and its unruly histories: Old and new formations, Part II: Images and Crime: Making the criminal visible: photography and criminality, Documentary criminology: A cultural criminological introduction, Going feral: Kamp Katrina as a case study of documentary criminology, Mediated suffering, Media, popular culture and the lone wolf terrorist: The evolution of targeting, tactics and violent ideologies, Representing the pedophile, Street art, graffiti and urban aesthetics, Risky business: Visual representations in corporate crime films, ../part contents