Literary Theory and Criminology demonstrates the significance of contemporary literary theory to the discipline of criminology, particularly to those criminologists who are primarily concerned with questions of power, inequality, and harm. Drawing on innovations in philosophical, narrative, cultural, and pulp criminology, it sets out a deconstructive framework as part of a critical criminological critique-praxis.

This book comprises eight essays – on globalisation, criminological fiction, poststructuralism, patriarchal political economy, racial capitalism, anthropocidal ecocide, critical theory, and critical praxis – that argue for the value of contemporary literary theory to a critical criminology concerned with the construction of a just and sustainable reality in the face of climate change and other mass harms. This is the first criminology book to engage with literary theory from the perspective of criminology and provides a guide for criminologists who want to deploy literary theory as part of their research programmes. It supersedes existing engagements with poststructuralism in the philosophical criminological tradition because it entails neither a constructionist ontology nor a relativist epistemology. It shows criminologists how literary theory offers the tools to first deconstruct and then reconstruct meaning and value.

Literary Theory and Criminology is essential reading for all critical criminological theorists.

Literary Theory and Criminology demonstrates the significance of contemporary literary theory to the discipline of criminology, particularly to those criminologists who are primarily concerned with questions of power, inequality, and harm. Drawing on innovations in philosophical, narrative, cultural, and pulp criminology, it sets out a deconstructive framework as part of a critical criminological critique-praxis.

This book comprises eight essays – on globalisation, criminological fiction, poststructuralism, patriarchal political economy, racial capitalism, anthropocidal ecocide, critical theory, and critical praxis – that argue for the value of contemporary literary theory to a critical criminology concerned with the construction of a just and sustainable reality in the face of climate change and other mass harms. This is the first criminology book to engage with literary theory from the perspective of criminology and provides a guide for criminologists who want to deploy literary theory as part of their research programmes. It supersedes existing engagements with poststructuralism in the philosophical criminological tradition because it entails neither a constructionist ontology nor a relativist epistemology. It shows criminologists how literary theory offers the tools to first deconstruct and then reconstruct meaning and value.

Literary Theory and Criminology is essential reading for all critical criminological theorists.

Standing at the intersection of criminology and philosophy, this book demonstrates the ways in which mythic movies and television series can provide an understanding of actual crimes and social harms.

Taking three social problems as its subjects – capitalist political economy, structural injustice, and racism – the book explores the ways in which David Fincher’s Fight Club (1999), HBO’s Game of Thrones (2011–2019), and Jordan Peele’s Us (2019) offer solutions by reconceiving justice in terms of personal and collective transformation, utopian thinking, and the relationship between racism and elitism, respectively. In doing so, the authors set out a theory of understanding the world based on cinematic and televisual works of art and conclude with a template that establishes a methodology for future use.

An Epistemology of Criminological Cinema is authoritative and accessible, ideal reading for undergraduate and postgraduate students, criminologists, philosophers, and film, television, and literary critics with an interest in social justice and social harm.

Standing at the intersection of criminology and philosophy, this book demonstrates the ways in which mythic movies and television series can provide an understanding of actual crimes and social harms.

Taking three social problems as its subjects – capitalist political economy, structural injustice, and racism – the book explores the ways in which David Fincher’s Fight Club (1999), HBO’s Game of Thrones (2011–2019), and Jordan Peele’s Us (2019) offer solutions by reconceiving justice in terms of personal and collective transformation, utopian thinking, and the relationship between racism and elitism, respectively. In doing so, the authors set out a theory of understanding the world based on cinematic and televisual works of art and conclude with a template that establishes a methodology for future use.

An Epistemology of Criminological Cinema is authoritative and accessible, ideal reading for undergraduate and postgraduate students, criminologists, philosophers, and film, television, and literary critics with an interest in social justice and social harm.

Transatlantic policing is experiencing an unprecedented crisis of legitimacy, epitomised by public responses to the murders of George Floyd and Sarah Everard during the COVID-19 pandemic. Legitimacy is lost when the police either fail to protect the public or rely on coercion rather than consent to achieve that protection. Recovering Police Legitimacy challenges conventional criminological, political, and public solutions to the problem by approaching it from the bottom up, beginning with policing as a practice constituted by a unique set of excellences, skills, and characteristics.

The author draws on his experience as a police officer and on the serial fictions of James Ellroy, David Peace, and Nic Pizzolatto to characterise the practice in terms of heroic struggle, edgework, absolute sacrifice, and worldmaking. These characteristics provide an analytic tool for revolutionising our understanding of the relations among policing as a situated practice, public protection, and police legitimacy and for identifying the different levels at which legitimacy is undermined. His conclusion is that recovery is possible but will be slow in pace and incomplete in scope.

Written accessibly for students, police officers, policymakers, scholars, and anyone with an interest in police legitimacy, this is a groundbreaking study of a pressing social problem.

Transatlantic policing is experiencing an unprecedented crisis of legitimacy, epitomised by public responses to the murders of George Floyd and Sarah Everard during the COVID-19 pandemic. Legitimacy is lost when the police either fail to protect the public or rely on coercion rather than consent to achieve that protection. Recovering Police Legitimacy challenges conventional criminological, political, and public solutions to the problem by approaching it from the bottom up, beginning with policing as a practice constituted by a unique set of excellences, skills, and characteristics.

The author draws on his experience as a police officer and on the serial fictions of James Ellroy, David Peace, and Nic Pizzolatto to characterise the practice in terms of heroic struggle, edgework, absolute sacrifice, and worldmaking. These characteristics provide an analytic tool for revolutionising our understanding of the relations among policing as a situated practice, public protection, and police legitimacy and for identifying the different levels at which legitimacy is undermined. His conclusion is that recovery is possible but will be slow in pace and incomplete in scope.

Written accessibly for students, police officers, policymakers, scholars, and anyone with an interest in police legitimacy, this is a groundbreaking study of a pressing social problem.

Through an examination of Alfonso Cuarón’s Children of Men, this book demonstrates the ability of cinematic fictions, and other complex narrative fictions, to contribute to meeting the climate challenge by shaping the desires of audiences.

What if there was a single feature film that showed us everything we need to know about climate catastrophe culture? What if that same film also made the philosophies of Slavoj Žižek, Mark Fisher, Francis Fukuyama, and Fredric Jameson accessible? Identifying the climate challenge as a cultural challenge, this book provides an unprecedented criminological analysis of both Children of Men and Fisher’s oeuvre from 1998 to 2022 and demonstrates the capacity of cinematic narratives to shape climate catastrophe culture. Seeking to be part of the solution to the climate challenge, it is the first criminological study to link the capacity of cinematic fictions to shape desire to solutions to the climate crisis. It is also one of the most detailed and most rigorous criminological case studies of a cinematic work to date.

Anthropocide: An Essay in Green Cultural Criminology will be of great interest to students and scholars of green criminology, cultural criminology, narrative criminology, film theory, philosophy of film, and ecocriticism.

Through an examination of Alfonso Cuarón’s Children of Men, this book demonstrates the ability of cinematic fictions, and other complex narrative fictions, to contribute to meeting the climate challenge by shaping the desires of audiences.

What if there was a single feature film that showed us everything we need to know about climate catastrophe culture? What if that same film also made the philosophies of Slavoj Žižek, Mark Fisher, Francis Fukuyama, and Fredric Jameson accessible? Identifying the climate challenge as a cultural challenge, this book provides an unprecedented criminological analysis of both Children of Men and Fisher’s oeuvre from 1998 to 2022 and demonstrates the capacity of cinematic narratives to shape climate catastrophe culture. Seeking to be part of the solution to the climate challenge, it is the first criminological study to link the capacity of cinematic fictions to shape desire to solutions to the climate crisis. It is also one of the most detailed and most rigorous criminological case studies of a cinematic work to date.

Anthropocide: An Essay in Green Cultural Criminology will be of great interest to students and scholars of green criminology, cultural criminology, narrative criminology, film theory, philosophy of film, and ecocriticism.

This book provides a clear and concise introduction to the work of French cultural icon Jacques Lacan (1901–1981) for criminologists, sociologists, and social theorists. The authors approach Lacan as a structuralist rather than a psychoanalyst or psychiatrist, exploring his perspective on the relationships among being, agency, meaning, and structure; his construction of subjectivity; and his register theory, constituted by the Real, the Imaginary, and the Symbolic.

The book begins with an analysis and evaluation of the only substantive criminological deployment of Lacan’s philosophy to date, in the ultra-realist framework developed by Steve Hall, Simon Winlow, and Thomas Raymen. The strengths of this framework suggest that Lacan’s work has even more relevance to crime and harm in the digital age than it did in the 20th century. Lacan for Criminologists picks up where ultra-realism leaves off, engaging directly with Lacan’s Écrits and seminars to demonstrate their value to a critical criminology that is theory-led, evidence-based, and zemiologically-focused.

This book will be fascinating reading for cultural, critical, and ultra-realist criminologists, as well as students and scholars of sociology, cultural studies, and social theory.

This book provides a clear and concise introduction to the work of French cultural icon Jacques Lacan (1901–1981) for criminologists, sociologists, and social theorists. The authors approach Lacan as a structuralist rather than a psychoanalyst or psychiatrist, exploring his perspective on the relationships among being, agency, meaning, and structure; his construction of subjectivity; and his register theory, constituted by the Real, the Imaginary, and the Symbolic.

The book begins with an analysis and evaluation of the only substantive criminological deployment of Lacan’s philosophy to date, in the ultra-realist framework developed by Steve Hall, Simon Winlow, and Thomas Raymen. The strengths of this framework suggest that Lacan’s work has even more relevance to crime and harm in the digital age than it did in the 20th century. Lacan for Criminologists picks up where ultra-realism leaves off, engaging directly with Lacan’s Écrits and seminars to demonstrate their value to a critical criminology that is theory-led, evidence-based, and zemiologically-focused.

This book will be fascinating reading for cultural, critical, and ultra-realist criminologists, as well as students and scholars of sociology, cultural studies, and social theory.

There is increasing pressure on the humanities to justify their value and on criminology to undertake interdisciplinary research. In this book, Rafe McGregor establishes a new interdisciplinary methodology, ‘criminological criticism’, harnessing the synergy between literary studies and critical criminology to produce genuine interventions in social reality.

McGregor practices criminological criticism on George Miller’s ‘Mad Max: Fury Road’, Prime Video’s ‘Carnival Row’ and J.K. Rowling’s ‘The Cuckoo’s Calling’, demonstrating how these popular allegories provide insights into the harms of sexism, racism and class prejudice.

This book proposes a model for collaboration between literary studies and critical criminology that is beneficial to the humanities, the social sciences and society.

There is increasing pressure on the humanities to justify their value and on criminology to undertake interdisciplinary research. In this book, Rafe McGregor establishes a new interdisciplinary methodology, ‘criminological criticism’, harnessing the synergy between literary studies and critical criminology to produce genuine interventions in social reality.

McGregor practices criminological criticism on George Miller’s ‘Mad Max: Fury Road’, Prime Video’s ‘Carnival Row’ and J.K. Rowling’s ‘The Cuckoo’s Calling’, demonstrating how these popular allegories provide insights into the harms of sexism, racism and class prejudice.

This book proposes a model for collaboration between literary studies and critical criminology that is beneficial to the humanities, the social sciences and society.

Literary Theory and Criminology demonstrates the significance of contemporary literary theory to the discipline of criminology, particularly to those criminologists who are primarily concerned with questions of power, inequality, and harm. Drawing on innovations in philosophical, narrative, cultural, and pulp criminology, it sets out a deconstructive framework as part of a critical criminological critique-praxis.

This book comprises eight essays – on globalisation, criminological fiction, poststructuralism, patriarchal political economy, racial capitalism, anthropocidal ecocide, critical theory, and critical praxis – that argue for the value of contemporary literary theory to a critical criminology concerned with the construction of a just and sustainable reality in the face of climate change and other mass harms. This is the first criminology book to engage with literary theory from the perspective of criminology and provides a guide for criminologists who want to deploy literary theory as part of their research programmes. It supersedes existing engagements with poststructuralism in the philosophical criminological tradition because it entails neither a constructionist ontology nor a relativist epistemology. It shows criminologists how literary theory offers the tools to first deconstruct and then reconstruct meaning and value.

Literary Theory and Criminology is essential reading for all critical criminological theorists.

Literary Theory and Criminology demonstrates the significance of contemporary literary theory to the discipline of criminology, particularly to those criminologists who are primarily concerned with questions of power, inequality, and harm. Drawing on innovations in philosophical, narrative, cultural, and pulp criminology, it sets out a deconstructive framework as part of a critical criminological critique-praxis.

This book comprises eight essays – on globalisation, criminological fiction, poststructuralism, patriarchal political economy, racial capitalism, anthropocidal ecocide, critical theory, and critical praxis – that argue for the value of contemporary literary theory to a critical criminology concerned with the construction of a just and sustainable reality in the face of climate change and other mass harms. This is the first criminology book to engage with literary theory from the perspective of criminology and provides a guide for criminologists who want to deploy literary theory as part of their research programmes. It supersedes existing engagements with poststructuralism in the philosophical criminological tradition because it entails neither a constructionist ontology nor a relativist epistemology. It shows criminologists how literary theory offers the tools to first deconstruct and then reconstruct meaning and value.

Literary Theory and Criminology is essential reading for all critical criminological theorists.

Standing at the intersection of criminology and philosophy, this book demonstrates the ways in which mythic movies and television series can provide an understanding of actual crimes and social harms.

Taking three social problems as its subjects – capitalist political economy, structural injustice, and racism – the book explores the ways in which David Fincher’s Fight Club (1999), HBO’s Game of Thrones (2011–2019), and Jordan Peele’s Us (2019) offer solutions by reconceiving justice in terms of personal and collective transformation, utopian thinking, and the relationship between racism and elitism, respectively. In doing so, the authors set out a theory of understanding the world based on cinematic and televisual works of art and conclude with a template that establishes a methodology for future use.

An Epistemology of Criminological Cinema is authoritative and accessible, ideal reading for undergraduate and postgraduate students, criminologists, philosophers, and film, television, and literary critics with an interest in social justice and social harm.

Standing at the intersection of criminology and philosophy, this book demonstrates the ways in which mythic movies and television series can provide an understanding of actual crimes and social harms.

Taking three social problems as its subjects – capitalist political economy, structural injustice, and racism – the book explores the ways in which David Fincher’s Fight Club (1999), HBO’s Game of Thrones (2011–2019), and Jordan Peele’s Us (2019) offer solutions by reconceiving justice in terms of personal and collective transformation, utopian thinking, and the relationship between racism and elitism, respectively. In doing so, the authors set out a theory of understanding the world based on cinematic and televisual works of art and conclude with a template that establishes a methodology for future use.

An Epistemology of Criminological Cinema is authoritative and accessible, ideal reading for undergraduate and postgraduate students, criminologists, philosophers, and film, television, and literary critics with an interest in social justice and social harm.

Transatlantic policing is experiencing an unprecedented crisis of legitimacy, epitomised by public responses to the murders of George Floyd and Sarah Everard during the COVID-19 pandemic. Legitimacy is lost when the police either fail to protect the public or rely on coercion rather than consent to achieve that protection. Recovering Police Legitimacy challenges conventional criminological, political, and public solutions to the problem by approaching it from the bottom up, beginning with policing as a practice constituted by a unique set of excellences, skills, and characteristics.

The author draws on his experience as a police officer and on the serial fictions of James Ellroy, David Peace, and Nic Pizzolatto to characterise the practice in terms of heroic struggle, edgework, absolute sacrifice, and worldmaking. These characteristics provide an analytic tool for revolutionising our understanding of the relations among policing as a situated practice, public protection, and police legitimacy and for identifying the different levels at which legitimacy is undermined. His conclusion is that recovery is possible but will be slow in pace and incomplete in scope.

Written accessibly for students, police officers, policymakers, scholars, and anyone with an interest in police legitimacy, this is a groundbreaking study of a pressing social problem.

Transatlantic policing is experiencing an unprecedented crisis of legitimacy, epitomised by public responses to the murders of George Floyd and Sarah Everard during the COVID-19 pandemic. Legitimacy is lost when the police either fail to protect the public or rely on coercion rather than consent to achieve that protection. Recovering Police Legitimacy challenges conventional criminological, political, and public solutions to the problem by approaching it from the bottom up, beginning with policing as a practice constituted by a unique set of excellences, skills, and characteristics.

The author draws on his experience as a police officer and on the serial fictions of James Ellroy, David Peace, and Nic Pizzolatto to characterise the practice in terms of heroic struggle, edgework, absolute sacrifice, and worldmaking. These characteristics provide an analytic tool for revolutionising our understanding of the relations among policing as a situated practice, public protection, and police legitimacy and for identifying the different levels at which legitimacy is undermined. His conclusion is that recovery is possible but will be slow in pace and incomplete in scope.

Written accessibly for students, police officers, policymakers, scholars, and anyone with an interest in police legitimacy, this is a groundbreaking study of a pressing social problem.

Through an examination of Alfonso Cuarón’s Children of Men, this book demonstrates the ability of cinematic fictions, and other complex narrative fictions, to contribute to meeting the climate challenge by shaping the desires of audiences.

What if there was a single feature film that showed us everything we need to know about climate catastrophe culture? What if that same film also made the philosophies of Slavoj Žižek, Mark Fisher, Francis Fukuyama, and Fredric Jameson accessible? Identifying the climate challenge as a cultural challenge, this book provides an unprecedented criminological analysis of both Children of Men and Fisher’s oeuvre from 1998 to 2022 and demonstrates the capacity of cinematic narratives to shape climate catastrophe culture. Seeking to be part of the solution to the climate challenge, it is the first criminological study to link the capacity of cinematic fictions to shape desire to solutions to the climate crisis. It is also one of the most detailed and most rigorous criminological case studies of a cinematic work to date.

Anthropocide: An Essay in Green Cultural Criminology will be of great interest to students and scholars of green criminology, cultural criminology, narrative criminology, film theory, philosophy of film, and ecocriticism.

Through an examination of Alfonso Cuarón’s Children of Men, this book demonstrates the ability of cinematic fictions, and other complex narrative fictions, to contribute to meeting the climate challenge by shaping the desires of audiences.

What if there was a single feature film that showed us everything we need to know about climate catastrophe culture? What if that same film also made the philosophies of Slavoj Žižek, Mark Fisher, Francis Fukuyama, and Fredric Jameson accessible? Identifying the climate challenge as a cultural challenge, this book provides an unprecedented criminological analysis of both Children of Men and Fisher’s oeuvre from 1998 to 2022 and demonstrates the capacity of cinematic narratives to shape climate catastrophe culture. Seeking to be part of the solution to the climate challenge, it is the first criminological study to link the capacity of cinematic fictions to shape desire to solutions to the climate crisis. It is also one of the most detailed and most rigorous criminological case studies of a cinematic work to date.

Anthropocide: An Essay in Green Cultural Criminology will be of great interest to students and scholars of green criminology, cultural criminology, narrative criminology, film theory, philosophy of film, and ecocriticism.

This book provides a clear and concise introduction to the work of French cultural icon Jacques Lacan (1901–1981) for criminologists, sociologists, and social theorists. The authors approach Lacan as a structuralist rather than a psychoanalyst or psychiatrist, exploring his perspective on the relationships among being, agency, meaning, and structure; his construction of subjectivity; and his register theory, constituted by the Real, the Imaginary, and the Symbolic.

The book begins with an analysis and evaluation of the only substantive criminological deployment of Lacan’s philosophy to date, in the ultra-realist framework developed by Steve Hall, Simon Winlow, and Thomas Raymen. The strengths of this framework suggest that Lacan’s work has even more relevance to crime and harm in the digital age than it did in the 20th century. Lacan for Criminologists picks up where ultra-realism leaves off, engaging directly with Lacan’s Écrits and seminars to demonstrate their value to a critical criminology that is theory-led, evidence-based, and zemiologically-focused.

This book will be fascinating reading for cultural, critical, and ultra-realist criminologists, as well as students and scholars of sociology, cultural studies, and social theory.

This book provides a clear and concise introduction to the work of French cultural icon Jacques Lacan (1901–1981) for criminologists, sociologists, and social theorists. The authors approach Lacan as a structuralist rather than a psychoanalyst or psychiatrist, exploring his perspective on the relationships among being, agency, meaning, and structure; his construction of subjectivity; and his register theory, constituted by the Real, the Imaginary, and the Symbolic.

The book begins with an analysis and evaluation of the only substantive criminological deployment of Lacan’s philosophy to date, in the ultra-realist framework developed by Steve Hall, Simon Winlow, and Thomas Raymen. The strengths of this framework suggest that Lacan’s work has even more relevance to crime and harm in the digital age than it did in the 20th century. Lacan for Criminologists picks up where ultra-realism leaves off, engaging directly with Lacan’s Écrits and seminars to demonstrate their value to a critical criminology that is theory-led, evidence-based, and zemiologically-focused.

This book will be fascinating reading for cultural, critical, and ultra-realist criminologists, as well as students and scholars of sociology, cultural studies, and social theory.

There is increasing pressure on the humanities to justify their value and on criminology to undertake interdisciplinary research. In this book, Rafe McGregor establishes a new interdisciplinary methodology, ‘criminological criticism’, harnessing the synergy between literary studies and critical criminology to produce genuine interventions in social reality.

McGregor practices criminological criticism on George Miller’s ‘Mad Max: Fury Road’, Prime Video’s ‘Carnival Row’ and J.K. Rowling’s ‘The Cuckoo’s Calling’, demonstrating how these popular allegories provide insights into the harms of sexism, racism and class prejudice.

This book proposes a model for collaboration between literary studies and critical criminology that is beneficial to the humanities, the social sciences and society.

There is increasing pressure on the humanities to justify their value and on criminology to undertake interdisciplinary research. In this book, Rafe McGregor establishes a new interdisciplinary methodology, ‘criminological criticism’, harnessing the synergy between literary studies and critical criminology to produce genuine interventions in social reality.

McGregor practices criminological criticism on George Miller’s ‘Mad Max: Fury Road’, Prime Video’s ‘Carnival Row’ and J.K. Rowling’s ‘The Cuckoo’s Calling’, demonstrating how these popular allegories provide insights into the harms of sexism, racism and class prejudice.

This book proposes a model for collaboration between literary studies and critical criminology that is beneficial to the humanities, the social sciences and society.