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, Michelle Brown and Eamonn Carrabine Part I: Foundations – History, Theory Methods Law, evidence and representation, Katherine Biber Social science and visual culture, Eamonn Carrabine "We never, never talked about photography": Documentary photography, visual criminology, and method, Jeff Ferrell Crime films and visual criminology, Nicole Rafter Key methods of visual criminology: An overview of different approaches and their affordances, Luc Pauwels Visions of legitimacy: Public criminology, the image and the legitimation of the carceral state, Jonathan Simon Carceral geography and the spatialization of carceral studies, Dominique Moran Art and its unruly histories: Old and new formations, Eamonn Carrabine Part II: Images and Crime Making the criminal visible: photography and criminality, Jonathan Finn Documentary criminology: A cultural criminological introduction, Keith Hayward Going feral: Kamp Katrina as a case study of documentary criminology, David Redmon Mediated suffering, Sandra Walklate Media, popular culture and the lone wolf terrorist: The evolution of targeting, tactics and violent ideologies, Mark Hamm and Ramón Spaaij Representing the pedophile, Steven Kohm Street art, graffiti and urban aesthetics, Alison Young Risky business: Visual representations in corporate crime films, Gray Cavender and Nancy Jurik Crimesploitation, Paul Kaplan and Daniel LaChance Part III: Images and Criminal Justice In plain view: Violence and the police image. Travis Linneman The role of the visual in the restoration of social order, Tony Kearon Opening a window on probation cultures: A photographic imagination, Anne Worrall, Nicola Carr and Gwen Robinson How does the photograph punish?, Phil Carney The visual retreat of the prison: Non-places for Non-people, Yvonne Jewkes, Eleanor Slee and Dominique Moran Pervasive punishment: Experiencing supervision, Wendy Fitzgibbon, Christine Graebsch and Fergus McNeill Graphic justice and criminological aesthetics: Visual criminology on the streets of Gotham, Thomas Giddens Part IV: Accusing Images and Images Accused Staged imagery of killing and torture: Ethical and normative dimensions of seeing, Lieve Gies Jus Des(s)erts? Crime and Punishment in the Italian Last Judgement, Lisa Wade Visualizing blackness – racializing gameness: Social inequalities in virtual gaming communities, Jordan Mazurek and Kishonna Gray Visual power and sovereignty: Indigenous art and colonialism, Chris Cuneen Asylum seekers and moving images: Walking, sensorial encounters and visual criminology, Maggie O’Neill Visual criminology and cultural memory: The aestheticization of boat people, Jacqueline Wilson Seeing and seeing-as: Building a politics of visibility in criminology, Sarah Armstrong The concerned criminologist: Refocusing the ethos of socially committed photographic research, Cécile Van de Voorde Los Angeles, urban history and neo-noir cinema, Gareth Millington Against a "humanizing" prison cinema: The Prison in Twelve Landscapes and the politics of abolition imagery, Brett Story Part V: Future Directions Fascinated receptivity and the visual unconscious of crime, Stephen Pfohl The criminologist as visual scholar in a global mediascape, Michelle Brown Sunk capital, sinking prisons, stinking landfills: Landscape, ideology, visuality and the carceral state in central Appalachia, Judah Schept Territorial coding in street art and censure: Ernest Pignon-Ernest’s contribution to visual criminology, Ronnie Lippens Representations of environmental crime and harm: A green-cultural criminological perspective on Human-Altered Landscapes, Avi Brisman There’s no place like home: Encountering crime and criminality in representations of the domestic, Michael Fiddler Monstrous nature: A meeting of gothic, green and cultural criminologies, Nigel South

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, Michelle Brown and Eamonn Carrabine Part I: Foundations – History, Theory Methods Law, evidence and representation, Katherine Biber Social science and visual culture, Eamonn Carrabine "We never, never talked about photography": Documentary photography, visual criminology, and method, Jeff Ferrell Crime films and visual criminology, Nicole Rafter Key methods of visual criminology: An overview of different approaches and their affordances, Luc Pauwels Visions of legitimacy: Public criminology, the image and the legitimation of the carceral state, Jonathan Simon Carceral geography and the spatialization of carceral studies, Dominique Moran Art and its unruly histories: Old and new formations, Eamonn Carrabine Part II: Images and Crime Making the criminal visible: photography and criminality, Jonathan Finn Documentary criminology: A cultural criminological introduction, Keith Hayward Going feral: Kamp Katrina as a case study of documentary criminology, David Redmon Mediated suffering, Sandra Walklate Media, popular culture and the lone wolf terrorist: The evolution of targeting, tactics and violent ideologies, Mark Hamm and Ramón Spaaij Representing the pedophile, Steven Kohm Street art, graffiti and urban aesthetics, Alison Young Risky business: Visual representations in corporate crime films, Gray Cavender and Nancy Jurik Crimesploitation, Paul Kaplan and Daniel LaChance Part III: Images and Criminal Justice In plain view: Violence and the police image. Travis Linneman The role of the visual in the restoration of social order, Tony Kearon Opening a window on probation cultures: A photographic imagination, Anne Worrall, Nicola Carr and Gwen Robinson How does the photograph punish?, Phil Carney The visual retreat of the prison: Non-places for Non-people, Yvonne Jewkes, Eleanor Slee and Dominique Moran Pervasive punishment: Experiencing supervision, Wendy Fitzgibbon, Christine Graebsch and Fergus McNeill Graphic justice and criminological aesthetics: Visual criminology on the streets of Gotham, Thomas Giddens Part IV: Accusing Images and Images Accused Staged imagery of killing and torture: Ethical and normative dimensions of seeing, Lieve Gies Jus Des(s)erts? Crime and Punishment in the Italian Last Judgement, Lisa Wade Visualizing blackness – racializing gameness: Social inequalities in virtual gaming communities, Jordan Mazurek and Kishonna Gray Visual power and sovereignty: Indigenous art and colonialism, Chris Cuneen Asylum seekers and moving images: Walking, sensorial encounters and visual criminology, Maggie O’Neill Visual criminology and cultural memory: The aestheticization of boat people, Jacqueline Wilson Seeing and seeing-as: Building a politics of visibility in criminology, Sarah Armstrong The concerned criminologist: Refocusing the ethos of socially committed photographic research, Cécile Van de Voorde Los Angeles, urban history and neo-noir cinema, Gareth Millington Against a "humanizing" prison cinema: The Prison in Twelve Landscapes and the politics of abolition imagery, Brett Story Part V: Future Directions Fascinated receptivity and the visual unconscious of crime, Stephen Pfohl The criminologist as visual scholar in a global mediascape, Michelle Brown Sunk capital, sinking prisons, stinking landfills: Landscape, ideology, visuality and the carceral state in central Appalachia, Judah Schept Territorial coding in street art and censure: Ernest Pignon-Ernest’s contribution to visual criminology, Ronnie Lippens Representations of environmental crime and harm: A green-cultural criminological perspective on Human-Altered Landscapes, Avi Brisman There’s no place like home: Encountering crime and criminality in representations of the domestic, Michael Fiddler Monstrous nature: A meeting of gothic, green and cultural criminologies, Nigel South

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, Michelle Brown and Eamonn Carrabine Part I: Foundations – History, Theory Methods Law, evidence and representation, Katherine Biber Social science and visual culture, Eamonn Carrabine "We never, never talked about photography": Documentary photography, visual criminology, and method, Jeff Ferrell Crime films and visual criminology, Nicole Rafter Key methods of visual criminology: An overview of different approaches and their affordances, Luc Pauwels Visions of legitimacy: Public criminology, the image and the legitimation of the carceral state, Jonathan Simon Carceral geography and the spatialization of carceral studies, Dominique Moran Art and its unruly histories: Old and new formations, Eamonn Carrabine Part II: Images and Crime Making the criminal visible: photography and criminality, Jonathan Finn Documentary criminology: A cultural criminological introduction, Keith Hayward Going feral: Kamp Katrina as a case study of documentary criminology, David Redmon Mediated suffering, Sandra Walklate Media, popular culture and the lone wolf terrorist: The evolution of targeting, tactics and violent ideologies, Mark Hamm and Ramón Spaaij Representing the pedophile, Steven Kohm Street art, graffiti and urban aesthetics, Alison Young Risky business: Visual representations in corporate crime films, Gray Cavender and Nancy Jurik Crimesploitation, Paul Kaplan and Daniel LaChance Part III: Images and Criminal Justice In plain view: Violence and the police image. Travis Linneman The role of the visual in the restoration of social order, Tony Kearon Opening a window on probation cultures: A photographic imagination, Anne Worrall, Nicola Carr and Gwen Robinson How does the photograph punish?, Phil Carney The visual retreat of the prison: Non-places for Non-people, Yvonne Jewkes, Eleanor Slee and Dominique Moran Pervasive punishment: Experiencing supervision, Wendy Fitzgibbon, Christine Graebsch and Fergus McNeill Graphic justice and criminological aesthetics: Visual criminology on the streets of Gotham, Thomas Giddens Part IV: Accusing Images and Images Accused Staged imagery of killing and torture: Ethical and normative dimensions of seeing, Lieve Gies Jus Des(s)erts? Crime and Punishment in the Italian Last Judgement, Lisa Wade Visualizing blackness – racializing gameness: Social inequalities in virtual gaming communities, Jordan Mazurek and Kishonna Gray Visual power and sovereignty: Indigenous art and colonialism, Chris Cuneen Asylum seekers and moving images: Walking, sensorial encounters and visual criminology, Maggie O’Neill Visual criminology and cultural memory: The aestheticization of boat people, Jacqueline Wilson Seeing and seeing-as: Building a politics of visibility in criminology, Sarah Armstrong The concerned criminologist: Refocusing the ethos of socially committed photographic research, Cécile Van de Voorde Los Angeles, urban history and neo-noir cinema, Gareth Millington Against a "humanizing" prison cinema: The Prison in Twelve Landscapes and the politics of abolition imagery, Brett Story Part V: Future Directions Fascinated receptivity and the visual unconscious of crime, Stephen Pfohl The criminologist as visual scholar in a global mediascape, Michelle Brown Sunk capital, sinking prisons, stinking landfills: Landscape, ideology, visuality and the carceral state in central Appalachia, Judah Schept Territorial coding in street art and censure: Ernest Pignon-Ernest’s contribution to visual criminology, Ronnie Lippens Representations of environmental crime and harm: A green-cultural criminological perspective on Human-Altered Landscapes, Avi Brisman There’s no place like home: Encountering crime and criminality in representations of the domestic, Michael Fiddler Monstrous nature: A meeting of gothic, green and cultural criminologies, Nigel South