Routledge Studies in Crime, Culture and Media – serie

Criminologists in the Media presents the results of a cross-national study examining the structures that shape criminologists’ contributions to news and social media discourse.Drawing on interviews with criminologists and a survey of 1,211 criminologists working in the US, the UK, Australia, New Zealand, Canada, Ireland, and South Africa, this book represents the first cross-national study exploring how, why, and to what extent criminologists working in these countries engage in newsmaking and digital public criminology. Through examining the predictors of criminologists appearing in news media, the research presented in this book demonstrates that newsmaking practices within criminology are not reflective of equal access, interest, or opportunity. Rather, newsmaking operates within ‘fields of power’ shaped by the political economy of higher education, and researchers’ academic rank, gender, and areas of research expertise. Together, these factors generate several ‘situational logics’ that predispose criminologists to pursue particular courses of action in promoting their personal projects. Key among these logics, Wood, Richards, and Iliadis argue, are a ‘social logic’ informing criminologists’ moral-political views on newsmaking and an ‘industrial logic’ responsive to the demands of academic capitalism and the rise of the ‘entrepreneurial’ university.With its focus on the practicalities, challenges, and inequities of newsmaking in the post-broadcast era, Criminologists in the Media will appeal to researchers interested in the public role(s) of criminology, as well as researchers concerned with the challenges of communicating social scientific knowledge beyond the academy.

Criminologists in the Media presents the results of a cross-national study examining the structures that shape criminologists’ contributions to news and social media discourse.Drawing on interviews with criminologists and a survey of 1,211 criminologists working in the US, the UK, Australia, New Zealand, Canada, Ireland, and South Africa, this book represents the first cross-national study exploring how, why, and to what extent criminologists working in these countries engage in newsmaking and digital public criminology. Through examining the predictors of criminologists appearing in news media, the research presented in this book demonstrates that newsmaking practices within criminology are not reflective of equal access, interest, or opportunity. Rather, newsmaking operates within ‘fields of power’ shaped by the political economy of higher education, and researchers’ academic rank, gender, and areas of research expertise. Together, these factors generate several ‘situational logics’ that predispose criminologists to pursue particular courses of action in promoting their personal projects. Key among these logics, Wood, Richards, and Iliadis argue, are a ‘social logic’ informing criminologists’ moral-political views on newsmaking and an ‘industrial logic’ responsive to the demands of academic capitalism and the rise of the ‘entrepreneurial’ university.With its focus on the practicalities, challenges, and inequities of newsmaking in the post-broadcast era, Criminologists in the Media will appeal to researchers interested in the public role(s) of criminology, as well as researchers concerned with the challenges of communicating social scientific knowledge beyond the academy.

Corporate Wrongdoing on Film: The ‘Public Be Damned’ provides a unique and ground-breaking analysis of corporate wrongdoing depictions, identifying, describing, and categorizing harms perpetrated by corporations. The book provides a history of corporate wrongdoing in film, from the silent film to the present day. Early films are summarized and discussed within the historical, social and political contexts in which they were released. Examining films produced after 1979, the book classifies them by corporate harms to the environment, workers, consumers, and the economy. The book includes a discussion of well over 100 films, from obscure television movies to Hollywood blockbusters. Finally, the book concludes with a narrative analysis exploring the depiction of the protagonists, antagonists, and victims within the corporate wrongdoing film. Detailed and accessible, Corporate Wrongdoing on Film: The ‘Public Be Damned’ will be of great interest to scholars and students of Criminology and Film and Media Studies.

Corporate Wrongdoing on Film: The ‘Public Be Damned’ provides a unique and ground-breaking analysis of corporate wrongdoing depictions, identifying, describing, and categorizing harms perpetrated by corporations. The book provides a history of corporate wrongdoing in film, from the silent film to the present day. Early films are summarized and discussed within the historical, social and political contexts in which they were released. Examining films produced after 1979, the book classifies them by corporate harms to the environment, workers, consumers, and the economy. The book includes a discussion of well over 100 films, from obscure television movies to Hollywood blockbusters. Finally, the book concludes with a narrative analysis exploring the depiction of the protagonists, antagonists, and victims within the corporate wrongdoing film. Detailed and accessible, Corporate Wrongdoing on Film: The ‘Public Be Damned’ will be of great interest to scholars and students of Criminology and Film and Media Studies.

This book considers the intersection of music, politics and identity, focusing on music (genres) across the world as a form of political expression and protest, positive identity formations, and also how the criminalisation, censuring, policing and prosecution of musicians and fans can occur.All-encompassing in this book is analyses of the unique contribution of music to various aspects of human activity through an international, multi-disciplinary approach. The book will serve as a starting point for scholars in those areas where there has been an uncertain approach to this subject, while those from disciplines with a more established canon of music analysis will be informed about what each perspective can offer. The approach is international and multi-disciplinary, with the contributing authors focusing on a range of countries and the differing social and cultural impact of music for both musicians and fans. Academic disciplines can provide some explanations, but the importance of the contribution of practitioners is vital for a fully rounded understanding of the impact of music. Therefore, this book takes the reader on a journey, beginning with theoretical and philosophical perspectives on music and society, proceeding to an analysis of laws and policies, and concluding with the use of music by educational practitioners and the people with whom they work.This book will appeal to students and scholars in subjects such as sociology, criminology, cultural studies, and across the wider social sciences. It will also be of interest to practitioners in youth justice or those with other involvement in the criminal justice system.

This book considers the intersection of music, politics and identity, focusing on music (genres) across the world as a form of political expression and protest, positive identity formations, and also how the criminalisation, censuring, policing and prosecution of musicians and fans can occur.All-encompassing in this book is analyses of the unique contribution of music to various aspects of human activity through an international, multi-disciplinary approach. The book will serve as a starting point for scholars in those areas where there has been an uncertain approach to this subject, while those from disciplines with a more established canon of music analysis will be informed about what each perspective can offer. The approach is international and multi-disciplinary, with the contributing authors focusing on a range of countries and the differing social and cultural impact of music for both musicians and fans. Academic disciplines can provide some explanations, but the importance of the contribution of practitioners is vital for a fully rounded understanding of the impact of music. Therefore, this book takes the reader on a journey, beginning with theoretical and philosophical perspectives on music and society, proceeding to an analysis of laws and policies, and concluding with the use of music by educational practitioners and the people with whom they work.This book will appeal to students and scholars in subjects such as sociology, criminology, cultural studies, and across the wider social sciences. It will also be of interest to practitioners in youth justice or those with other involvement in the criminal justice system.

Discussing the state of play in contemporary popular culture, specifically the role of crime and crime control in the video game medium, this book discusses the criminological importance of video games.Pulling together an international group of scholars from Brazil, Canada, Sweden, the United Kingdom, and the United States, this edited volume analyzes a wide range of noteworthy video games, including Bioshock, Death Stranding, Diablo 2, Beat Cop, The Last of Us, Disco Elysium, Red Dead Redemption, P.T., Spider-Man, Spider-Man: Miles Morales, Star Wars Jedi: Fallen Order, and Grand Theft Auto. The book thus seeks to advance dialog on video games as important cultural artifacts containing significant insights regarding dominant perceptions, interests, anxieties, contradictions, and other matters of criminological interest.Covering policing, vigilantism, different forms of violence, genocide, mental illness, and criminological theory, Video Games, Crime, and Control will be of great interest to students and scholars of Criminology, Media Studies, and Sociology, specifically those focusing on Game Studies and Cultural Criminology.

Discussing the state of play in contemporary popular culture, specifically the role of crime and crime control in the video game medium, this book discusses the criminological importance of video games.Pulling together an international group of scholars from Brazil, Canada, Sweden, the United Kingdom, and the United States, this edited volume analyzes a wide range of noteworthy video games, including Bioshock, Death Stranding, Diablo 2, Beat Cop, The Last of Us, Disco Elysium, Red Dead Redemption, P.T., Spider-Man, Spider-Man: Miles Morales, Star Wars Jedi: Fallen Order, and Grand Theft Auto. The book thus seeks to advance dialog on video games as important cultural artifacts containing significant insights regarding dominant perceptions, interests, anxieties, contradictions, and other matters of criminological interest.Covering policing, vigilantism, different forms of violence, genocide, mental illness, and criminological theory, Video Games, Crime, and Control will be of great interest to students and scholars of Criminology, Media Studies, and Sociology, specifically those focusing on Game Studies and Cultural Criminology.

Discussing social media-related scholarship found in criminology, legal studies, policing, courts, corrections, victimization, and crime prevention, this book presents the current state of our knowledge on the impact of social media and the major sociological frameworks employed to study the U.S. justice system.Building a theoretical framework for the study of social media and criminal justice in each chapter, the chapters provide a systematic reflection of extant research on social media in cybercrime, operations of courts, administration of institutional and community corrections, law enforcement, and crime prevention. The book fills the gap between the contemporary state of knowledge regarding social media and criminal justice with respect to both empirical evidence and types of sociological frameworks being employed to explore and identify the societal costs and benefits of our growing dependence upon social media. In addition to providing an up-to-date overview of our current state of knowledge, this book highlights important areas of future research, wherein the benefits of social media can be expanded and the negative aspects of its broadening use can be minimized.Social Media and Criminal Justice will be of interest to students, scholars and practitioners in the areas of judicial administration, corrections management, law enforcement, and criminal justice-engaged community-based nonprofit organizations involved in court-referred treatment and/or active collaboration with local law enforcement agencies.

Discussing social media-related scholarship found in criminology, legal studies, policing, courts, corrections, victimization, and crime prevention, this book presents the current state of our knowledge on the impact of social media and the major sociological frameworks employed to study the U.S. justice system.Building a theoretical framework for the study of social media and criminal justice in each chapter, the chapters provide a systematic reflection of extant research on social media in cybercrime, operations of courts, administration of institutional and community corrections, law enforcement, and crime prevention. The book fills the gap between the contemporary state of knowledge regarding social media and criminal justice with respect to both empirical evidence and types of sociological frameworks being employed to explore and identify the societal costs and benefits of our growing dependence upon social media. In addition to providing an up-to-date overview of our current state of knowledge, this book highlights important areas of future research, wherein the benefits of social media can be expanded and the negative aspects of its broadening use can be minimized.Social Media and Criminal Justice will be of interest to students, scholars and practitioners in the areas of judicial administration, corrections management, law enforcement, and criminal justice-engaged community-based nonprofit organizations involved in court-referred treatment and/or active collaboration with local law enforcement agencies.

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.

America’s Horror Stories: U.S. History through Dark Tourism conducts a ghost tour(ist) methodology to explore how slavery and racism are represented in dark tourism via ghost tours.The authors travel to key sites of racist U.S. history, including Salem, Massachusetts, where a witch panic was sparked by accusations of witchcraft by Tituba, an enslaved woman practicing Voodoo; New Orleans, Louisiana, which hosts the largest slave trade market; the Myrtles Plantation in Francisville, Louisiana; and to Gettysburg, Pennsylvania, where the bloodiest battle of the Civil War took place, marking a pivotal moment to end slavery in the nation—but where Confederate ghosts are said to continue roaming the town and battlefield. Acting as research ghost hunters/tourists, the authors go on walking and bus tours, visit historical monuments, stay at haunted hotels, ponder objects in haunted museums, and do some ghost hunting of their own. They find that the ghosts conjured by tour guides—ghosts of confederate soldiers, American citizens, and enslaved people—tend to whitewash, sensationalize, and commercialize the horrors of U.S. history, including slavery, racism, and colonialism. They do not discount dark tourism entirely; but recommend a ghost tour(ist) pedagogy that critically considers social issues—and structural forms of inequality—that haunt us today.America’s Horror Stories will be of great interest to students and scholars researching and taking part in critical criminology and cultural criminology courses, specifically on crime, media, and culture.

America’s Horror Stories: U.S. History through Dark Tourism conducts a ghost tour(ist) methodology to explore how slavery and racism are represented in dark tourism via ghost tours.The authors travel to key sites of racist U.S. history, including Salem, Massachusetts, where a witch panic was sparked by accusations of witchcraft by Tituba, an enslaved woman practicing Voodoo; New Orleans, Louisiana, which hosts the largest slave trade market; the Myrtles Plantation in Francisville, Louisiana; and to Gettysburg, Pennsylvania, where the bloodiest battle of the Civil War took place, marking a pivotal moment to end slavery in the nation—but where Confederate ghosts are said to continue roaming the town and battlefield. Acting as research ghost hunters/tourists, the authors go on walking and bus tours, visit historical monuments, stay at haunted hotels, ponder objects in haunted museums, and do some ghost hunting of their own. They find that the ghosts conjured by tour guides—ghosts of confederate soldiers, American citizens, and enslaved people—tend to whitewash, sensationalize, and commercialize the horrors of U.S. history, including slavery, racism, and colonialism. They do not discount dark tourism entirely; but recommend a ghost tour(ist) pedagogy that critically considers social issues—and structural forms of inequality—that haunt us today.America’s Horror Stories will be of great interest to students and scholars researching and taking part in critical criminology and cultural criminology courses, specifically on crime, media, and culture.

Analysing the representation of youth crime and justice-involved children in popular fictional films, this book explores how what we see on screen contributes to the perceptions of youth justice in society, policy, and practice.Putting forward the argument that fictional representations have a real-world impact on the opportunities available to children, each chapter in the book focuses on a different genre or type of film and considers the ways in which justice-involved children have been demonised, stereotyped, and harmed by their portrayal on the big screen. From James Dean and the birth of “monstrous youth” in Rebel Without A Cause to the current, more nuanced portrayals as seen in The Young Offenders, the book examines films throughout history and across different cultures. In doing so, it demonstrates how portrayals of justice-involved children have contributed to the social understanding of what youth crime is and who is to blame for it, and highlights how we can use this knowledge to better understand and support children.By combining youth justice theory with media analysis, A Popular Criminology of Youth Justice: Youth on Film makes a novel contribution to both fields and will be of great interest to students and researchers in the areas of youth crime, youth justice, and the media.

Analysing the representation of youth crime and justice-involved children in popular fictional films, this book explores how what we see on screen contributes to the perceptions of youth justice in society, policy, and practice.Putting forward the argument that fictional representations have a real-world impact on the opportunities available to children, each chapter in the book focuses on a different genre or type of film and considers the ways in which justice-involved children have been demonised, stereotyped, and harmed by their portrayal on the big screen. From James Dean and the birth of “monstrous youth” in Rebel Without A Cause to the current, more nuanced portrayals as seen in The Young Offenders, the book examines films throughout history and across different cultures. In doing so, it demonstrates how portrayals of justice-involved children have contributed to the social understanding of what youth crime is and who is to blame for it, and highlights how we can use this knowledge to better understand and support children.By combining youth justice theory with media analysis, A Popular Criminology of Youth Justice: Youth on Film makes a novel contribution to both fields and will be of great interest to students and researchers in the areas of youth crime, youth justice, and the media.

Bringing new research from true crime writers, scholars, and media practitioners around the world, this book offers fresh perspectives on how women read, write, and are portrayed in true crime stories across different platforms, including documentaries, podcasts, and TikToks. The genre of true crime is flourishing, and it is overwhelmingly consumed by women. Despite this, there is much we do not know about how women consume true crime and are represented in true crime stories of various kinds. This edited volume helps to fill this gap in our knowledge. Across ten chapters and using a variety of study methods, including creative practice, interviews, surveys, archival research, and case studies, the book reveals the multifaceted ways that true crime matters to women and suggests areas of future research. It also offers new insights on a diverse range of topics, such as racial identities, fraudsters, activism, victimisation, and deviance, as well as highlighting major cases from past to present which have influenced criminal justice responses.True Crime and Women is intended for researchers and students of criminology, literary studies, gender studies, media and journalism studies, and rhetorical studies, as well as media practitioners and writers.

Bringing new research from true crime writers, scholars, and media practitioners around the world, this book offers fresh perspectives on how women read, write, and are portrayed in true crime stories across different platforms, including documentaries, podcasts, and TikToks. The genre of true crime is flourishing, and it is overwhelmingly consumed by women. Despite this, there is much we do not know about how women consume true crime and are represented in true crime stories of various kinds. This edited volume helps to fill this gap in our knowledge. Across ten chapters and using a variety of study methods, including creative practice, interviews, surveys, archival research, and case studies, the book reveals the multifaceted ways that true crime matters to women and suggests areas of future research. It also offers new insights on a diverse range of topics, such as racial identities, fraudsters, activism, victimisation, and deviance, as well as highlighting major cases from past to present which have influenced criminal justice responses.True Crime and Women is intended for researchers and students of criminology, literary studies, gender studies, media and journalism studies, and rhetorical studies, as well as media practitioners and writers.

Through cultural criminology, this book brings together existing research to provide an overview of historical and modern moral panics related to human trafficking.What do you picture when you hear the words human trafficking? Perhaps you imagine someone kidnapped and sold as shown in films or worry that sex trafficking increasingly occurs online or in big cities during major events. While sex trafficking does occur, the reality of human trafficking is complex, though this reality is often obscured by the media. The media has played a large role in shaping understanding of this crime, with panics, conspiracies, and misinformation abounding. This book uses cultural criminology to break down historical and modern panics to understand the links between media portrayals of human trafficking, perpetuation of stereotypes, and influences on policy. The text examines the impacts of human trafficking panics perpetuated by media, including understanding the origins of human trafficking in the nineteenth-century White slave panic, the ways that popular media perpetuates stereotypes, the reality of trafficking at sporting events, and the role of social media in generating misinformation.Human Trafficking Hysteria is a valuable resource for criminology and sociology classes, as well as special-topics classes on sex crimes, victimization, or the media.

Through cultural criminology, this book brings together existing research to provide an overview of historical and modern moral panics related to human trafficking.What do you picture when you hear the words human trafficking? Perhaps you imagine someone kidnapped and sold as shown in films or worry that sex trafficking increasingly occurs online or in big cities during major events. While sex trafficking does occur, the reality of human trafficking is complex, though this reality is often obscured by the media. The media has played a large role in shaping understanding of this crime, with panics, conspiracies, and misinformation abounding. This book uses cultural criminology to break down historical and modern panics to understand the links between media portrayals of human trafficking, perpetuation of stereotypes, and influences on policy. The text examines the impacts of human trafficking panics perpetuated by media, including understanding the origins of human trafficking in the nineteenth-century White slave panic, the ways that popular media perpetuates stereotypes, the reality of trafficking at sporting events, and the role of social media in generating misinformation.Human Trafficking Hysteria is a valuable resource for criminology and sociology classes, as well as special-topics classes on sex crimes, victimization, or the media.

In response to the recent ‘spectral turn’ within criminology this book presents, for the first time, a concise, comprehensive, approachable and critically engaged guide to hauntology for criminological researchers and graduate students.Hauntology is, in essence, a mode of analysing the repressions, absences and lacks that shape our social world. The book outlines how criminological researchers may welcome hauntings into their work, to escape the ontological tethers of administrative criminology and to reveal the importance of absence in their work. Specifically, the book is structured around key criminological themes, from prisons to the environment, and examines how the lens of ‘haunting’ helps unlock new critical enquiry by revealing the voices that are all too often buried. In doing so, it presents an examination of how hauntological concepts can be ‘read’ criminologically as well as addressing how they can be used to expand criminological imagination.Throughout the book, we use hauntology to amplify the significance of justice within criminology as an intellectual and ethical endeavour. We argue that a spectral attitude bolsters our ability to ‘do justice’ to our research, our questions, our participants, our subjects, our objects, and what counts as criminological knowledge.The book is guided by the following objectives:• To introduce the importance of hauntology for encountering the spectres repressed within criminological knowledge and research.• To outline the key concepts of hauntology to offer new critical insight into their application across the field of criminology.• To examine the multiple ways hauntology stretches the ontological and epistemological foundations of criminological research.• To produce an approachable, comprehensive and theoretically driven compendium that both motivates and guides current and future research across all areas of criminology.Hauntology: An Introduction for Criminologists is a guide for criminologists that is designed to, for the first time, help direct future hauntological research and enhanced learning capacity across the discipline of criminology.

In response to the recent ‘spectral turn’ within criminology this book presents, for the first time, a concise, comprehensive, approachable and critically engaged guide to hauntology for criminological researchers and graduate students.Hauntology is, in essence, a mode of analysing the repressions, absences and lacks that shape our social world. The book outlines how criminological researchers may welcome hauntings into their work, to escape the ontological tethers of administrative criminology and to reveal the importance of absence in their work. Specifically, the book is structured around key criminological themes, from prisons to the environment, and examines how the lens of ‘haunting’ helps unlock new critical enquiry by revealing the voices that are all too often buried. In doing so, it presents an examination of how hauntological concepts can be ‘read’ criminologically as well as addressing how they can be used to expand criminological imagination.Throughout the book, we use hauntology to amplify the significance of justice within criminology as an intellectual and ethical endeavour. We argue that a spectral attitude bolsters our ability to ‘do justice’ to our research, our questions, our participants, our subjects, our objects, and what counts as criminological knowledge.The book is guided by the following objectives:• To introduce the importance of hauntology for encountering the spectres repressed within criminological knowledge and research.• To outline the key concepts of hauntology to offer new critical insight into their application across the field of criminology.• To examine the multiple ways hauntology stretches the ontological and epistemological foundations of criminological research.• To produce an approachable, comprehensive and theoretically driven compendium that both motivates and guides current and future research across all areas of criminology.Hauntology: An Introduction for Criminologists is a guide for criminologists that is designed to, for the first time, help direct future hauntological research and enhanced learning capacity across the discipline of criminology.

Analyzing crime movies set in Detroit, Miami, Boston, Las Vegas, and the fictional Gotham City, this book examines the role that American cities play as characters in crime films. Furthering our awareness of how popular media shapes public understanding of crime and justice in American cities, this book contributes to scholarship in popular criminology by providing insight into the development of criminological theory in cinematic representations of crime and urban space. Each chapter focuses on a different city, starting with an overview of the social, economic, and political history of the city and proceeding to discuss the cinematic depiction of crime and justice in the city. At the heart of each chapter is a discussion of themes that are common across films set in each city. For each theme, the book makes connections to the criminological theory discussed in that chapter and concludes by focusing on real-world implications that stem from the social construction of urban crime in crime films.Bridging the gap between criminology and media studies, The American City in Crime Films will appeal to students of criminology and media studies, and urban sociology/criminology.

Analyzing crime movies set in Detroit, Miami, Boston, Las Vegas, and the fictional Gotham City, this book examines the role that American cities play as characters in crime films. Furthering our awareness of how popular media shapes public understanding of crime and justice in American cities, this book contributes to scholarship in popular criminology by providing insight into the development of criminological theory in cinematic representations of crime and urban space. Each chapter focuses on a different city, starting with an overview of the social, economic, and political history of the city and proceeding to discuss the cinematic depiction of crime and justice in the city. At the heart of each chapter is a discussion of themes that are common across films set in each city. For each theme, the book makes connections to the criminological theory discussed in that chapter and concludes by focusing on real-world implications that stem from the social construction of urban crime in crime films.Bridging the gap between criminology and media studies, The American City in Crime Films will appeal to students of criminology and media studies, and urban sociology/criminology.

This book explores the role of social media in the daily practice of Polish criminal justice and how social media is, in turn, reshaping this practice. Based on empirical research, it confronts common beliefs about how police officers, prosecutors, and judges use social media in their work. Readers will find answers to the following questions: Which social media platforms are popular among law enforcement officers in Poland? How do the police use social media to investigate and prosecute crimes? What are the strategies for using social media to communicate with the community? What strategies are most successful?The findings in this book challenge some popular beliefs and theories about social media in criminal justice. As the first book to explore the use of social media in criminal justice outside of English-speaking countries, this collection of academic research will be of interest to academics focusing on criminology, criminal justice, and policing and will be useful to police leaders and officers, police social media administrators, prosecutors, and judges, who may be inspired by the research to implement new successful and more effective practices.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-NonCommercial (CC-BY-NC) 4.0 International license. The costs of the Open Access publication were covered by the University of Warsaw under the Excellence Initiative Research University Action I.2.4 Supporting Open Access Publications.

This book explores the role of social media in the daily practice of Polish criminal justice and how social media is, in turn, reshaping this practice. Based on empirical research, it confronts common beliefs about how police officers, prosecutors, and judges use social media in their work. Readers will find answers to the following questions: Which social media platforms are popular among law enforcement officers in Poland? How do the police use social media to investigate and prosecute crimes? What are the strategies for using social media to communicate with the community? What strategies are most successful?The findings in this book challenge some popular beliefs and theories about social media in criminal justice. As the first book to explore the use of social media in criminal justice outside of English-speaking countries, this collection of academic research will be of interest to academics focusing on criminology, criminal justice, and policing and will be useful to police leaders and officers, police social media administrators, prosecutors, and judges, who may be inspired by the research to implement new successful and more effective practices.The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-NonCommercial (CC-BY-NC) 4.0 International license. The costs of the Open Access publication were covered by the University of Warsaw under the Excellence Initiative Research University Action I.2.4 Supporting Open Access Publications.

Focused on the Australian punk and hardcore music scene, this book provides an innovative balance between the acknowledgement of harm and the celebration of pleasure in live music spaces.Despite decades of advocacy within vibrant music communities, stories of sexual and physical violence persist. Although anecdotally common in alternative music cultures, the interpretation and experiences of harm have remained absent from criminological analysis. Gradients of harm dictate and frame certain behaviour as ‘unacceptable’ or ‘encouraged’ under specific social conditions. As explored through qualitative research interviews and the author’s lived experience, violence within music scenes is a complex, personal, and collective experience.Issues such as discrimination, social inequality, stereotyping and rape myth acceptance are instrumental in shaping how people in the punk and hardcore scenes fail to recognise, minimize, and dismiss violence in their community. This text questions how and why some people are ‘worthy’ or ‘unworthy’ victims of crime, and why harmful behaviour continues within these spaces.Sexual and Physical Violence in Australian Punk and Hardcore Music Scenes will be of interest to researchers in the field of criminology and sociology but is also applicable to a wider academic audience interested in violence, deviance, and subcultures.

Focused on the Australian punk and hardcore music scene, this book provides an innovative balance between the acknowledgement of harm and the celebration of pleasure in live music spaces.Despite decades of advocacy within vibrant music communities, stories of sexual and physical violence persist. Although anecdotally common in alternative music cultures, the interpretation and experiences of harm have remained absent from criminological analysis. Gradients of harm dictate and frame certain behaviour as ‘unacceptable’ or ‘encouraged’ under specific social conditions. As explored through qualitative research interviews and the author’s lived experience, violence within music scenes is a complex, personal, and collective experience.Issues such as discrimination, social inequality, stereotyping and rape myth acceptance are instrumental in shaping how people in the punk and hardcore scenes fail to recognise, minimize, and dismiss violence in their community. This text questions how and why some people are ‘worthy’ or ‘unworthy’ victims of crime, and why harmful behaviour continues within these spaces.Sexual and Physical Violence in Australian Punk and Hardcore Music Scenes will be of interest to researchers in the field of criminology and sociology but is also applicable to a wider academic audience interested in violence, deviance, and subcultures.

Murder in Motion examines the fictional category of the thriller – a genre founded on the effects and objects of suspense – through the lens of city dwelling. In particular, the purpose is to locate the mechanism of suspense against the backdrop of the increased mobility and speed of modern life, employing exegetical tools drawn from urban sociology and related fields to determine the significance of representations of anxiety within metropolitan settings.Existing scholarship has tended to treat suspense as a technique of temporal delay and the thriller as a formal genre. Quite differently, this study reads key (literary, cinematic, and televisual) narratives in relation to epochal transformations of society, from industrialization and modernity to globalization, placing emphasis on the intersection of modern transport and identity. It is a phenomenon the sociologist Hartmut Rosa has designated "social acceleration." It becomes evident through the classical, modernist, and postmodernist phases of the thriller, while the meaning of suspense changes according to the velocity and spatial compressions resulting from technological change.The audience for the book will be students, instructors, and researchers in literary studies, film studies, and media studies, as well as researchers in sociology and critical theory.