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Overview

This cutting-edge edited collection brings together 17 scholarly essays on two of cinema and television’s most enduring and powerful themes: law and crime. With contributions by many of the most prominent scholars in law, sociology, criminology, and film, Framing Law and Crime offers a critical survey of a variety of genres and media, integrating descriptions of technique with critical analysis, and incorporating historical and socio-political critique. The first set of essays brings together accounts of the history of the Law and Cinema Movement; the groundbreaking genre of “post-apocalyptic fiction;” and the policy-setting genesis of a Canadian documentary. The second section of the book turns to the examination of a range of international or global films, with an eye to assessing the strengths, frailties, and possible functions of law, as depicted in fictional cinema. After an international focus in the second section, the third section focuses on law and crime in American film and television, inclusive of both fictional and documentary modes of narration. This section’s expansion beyond film narratives to include television series attempts to broaden the scope of the edited collection, in terms of media discussed; it is also a nod to how the big screen, although still a dominant force in American popular culture, now has to compete, to some extent, with the small screen, for influence over the collective American popular cultural imaginary. The fourth section, titled brings together various chapters that attempt to instantiate how a “Gothic Criminology” could be useful, as an interpretative framework in analyzing depictions of law and crime in film and television. The fifth and final section covers issues of pedagogy, epistemology, and ethics in relation to moving images of law and crime. Merging wide-ranging analyses with nuanced scholarly interpretations, Framing Law and Crime examines key concepts and showcases original research reflecting the latest interdisciplinary trends in the scholarship of the moving image. It addresses, not only scholars, but also fans, and will heighten the appreciation of connoisseurs and newcomers to these topics alike.


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Product Details

ISBN-13: 9781611477054
Publisher: Fairleigh Dickinson University Press
Publication date: 04/01/2016
Series: The Fairleigh Dickinson University Press Series in Law, Culture, and the Humanities
Pages: 538
Product dimensions: 6.10(w) x 9.10(h) x 2.10(d)

About the Author

Caroline Joan "Kay" S. Picart is a scholar and attorney at law practicing in federal and state appellate criminal law, and publishes peer reviewed journal articles and books principally on law, criminology, sociology, and film. Michael Hviid Jacobsen is professor of sociology in the Department of Sociology and Social Work, Aalborg University. Cecil Greek is associate professor of sociology at the University of South Florida.

Table of Contents

Contents Acknowledgments Introduction: Framing Law and Crime: An Experiment in Interdisciplinary Commensurability Caroline Joan (Kay) S. Picart, Michael Hviid Jacobsen, and Cecil Greek Part I: Cinematic Histories and Real/Reel Dystopias of Law and Crime Chapter 1: Law and Cinema Movement Stefan Machura, Bangor University, Criminology and Criminal Justice Chapter 2: The Crisis of Law and the Imaginary of Disaster: Reading Post-Apocalyptic Films Majid Yar, Independent Scholar, Sociology Chapter 3: A Canadian Perspective on Documentary Film: Drug Addict Susan Boyd, University of Victoria, Canada, Studies in Policies and Practice Program Part II: Jurisprudence in International Films Chapter 4: In the Land of Blood and Honey: What’s Fair or Just in Love and War Crimes? Lessons for Transitional Justice. Carrie Menkel-Meadow, University of California-Irvine, Law Chapter 5: Multifocal Judgment, Intersecting Legal Proceedings and Conservativism: A Separation and Rashomon. Orit Kamir, The Center for Human Dignity, Israel, Law Chapter 6: Beyond the Courtroom—Vigilantism, Revenge, and Rape-Revenge Films in the Cinema of Justice. Peter Robson, University of Strathclyde, Law Part III: Law and Crime in American Film and Television Chapter 7: Alfred Hitchcock—Visions of Guilt and Innocence Mathieu Deflem, University of South Carolina, Sociology Chapter 8: Heroes for Hard Times: The Wire’s ‘Good Police’ John Denvir, University of San Francisco School of Law, Law Chapter 9: Documenting Crime: Genre, Verity, and Filmmaker as Avenger Matthew Sorrento, Rutgers University, Film and Journalism Chapter 10: Screening the Law: Ideology and Law in American Popular Culture Naomi Mezey, Georgetown University, Law and Mark C. Niles, American University, Law Part IV: Film, Crime, and the Social World Chapter 11:Race and Serial Killing in the Media: The Case of Wayne Williams Caroline Joan (Kay) S. Picart, Tim Bower Rodriguez, P.A., Attorney at Law Chapter 12. Globalization and the Rise of the Behemoth: A Study in Gothic Criminology Cecil Greek, University of South Florida, Sociology Chapter 13: A Depiction of Evil, Order and Chaos: The Symbiotic Relationship of Law and the Supernatural in Film and Television Farah Britto, University of South Florida, Anthropology, and Cecil Greek, University of South Florida, Sociology Chapter 14: From Reel to Real - Conducting Filmic Ethnography in Criminology Michael Hviid Jacobsen, Aalborg University, Sociology and Anders Petersen, Aalborg University, Sociology. Part V: Epistemology and Ethics in Films of Law and Crime Chapter 15. Fact, Fantasy, Fallacy: Division Between Fanciful Musings and Factual Mutterings Jon Frauley, University of Ottawa, Criminology Chapter 16: Tobias Beecher: Law as a Refuge from Uncertainty? Steve Greenfield, University of Westminster, Law Chapter 17: Nationalities, Histories, Rhetorics: Real/Reel Representations of the Holocaust and Holocaust Trials and a Poethics of Film and Law Caroline Joan (Kay) S. Picart, Tim Bower Rodriguez, P.A., Attorney at Law

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