دانلود کتاب Routledge International Handbook of Visual Criminology

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Cover
Half Title
Title Page
Copyright Page
Dedication
Contents
List of figures
List of tables
List of plates
List of contributors
Acknowledgements
1 Introducing visual criminology
Part I: Foundations – history, theory, methods
2 Law, evidence and representation
3 Social science and visual culture
4 “We never, never talked about photography”: documentary photography, visual criminology, and method
5 Crime films and visual criminology
6 Key methods of visual criminology: an overview of dieffrent approaches and their affordances
7 Visions of legitimacy: public criminology, the image, and the legitimation of the carceral state
8 Carceral geography and the spatialization of carceral studies
9 Art and its unruly histories: old and new formations
Part II: Images and crime
10 Making the criminal visible: photography and criminality
11 Documentary criminology: a cultural criminological introduction
12 Going feral: Kamp Katrina as a case study of documentary criminology
13 Mediated suffering
14 Media, popular culture and the lone wolf terrorist: the evolution of targeting, tactics and violent ideologies
15 Representing the pedophile
16 Street art, graffiti and urban aesthetics
17 Risky business: visual representations in corporate crime films
18 Crimesploitation
Part III: Images and criminal justice
19 In plain view: violence and the police image
20 The role of the visual in the restoration of social order
21 Opening a window on probation cultures: a photographic imagination
22 How does the photograph punish?
23 The visual retreat of the prison: non-places for non-people
24 Pervasive punishment: experiencing supervision
25 Graphic justice and criminological aesthetics: visual criminology on the streets of Gotham
Part IV: Accusing images and images accused
26 Staged imagery of killing and torture: ethical and normative dimensions of seeing
27 Just des(s)erts? Crime and punishment in the Italian last judgement
28 Visualizing blackness – racializing gaming: social inequalities in virtual gaming communities
29 Visual power and sovereignty: indigenous art and colonialism
30 Asylum seekers and moving images: walking, sensorial encounters and visual criminology
31 Visual criminology and cultural memory: the aestheticization of boat people
32 Seeing and seeing-as: building a politics of visibility in criminology
33 The concerned criminologist: refocusing the ethos of socially committed photographic research
34 Los Angeles, urban history and neo-noir cinema
35 Against a ‘humanizing’ prison cinema: The Prison in Twelve Landscapes and the politics of abolition imagery
Part V: Future directions
36 Fascinated receptivity and the visual unconscious of crime
37 The criminologist as visual scholar in a global mediascape
38 Sunk capital, sinking prisons, stinking landfills: landscape, ideology and the carceral state in central Appalachia
39 Territorial coding in street art and censure: Ernest Pignon-Ernest’s contribution to visual criminology
40 Representations of environmental crime and harm: a green cultural criminological perspective on Human-Altered Landscapes
41 There’s no place like home: encountering crime and criminality in representations of the domestic
42 Monstrous nature: a meeting of gothic, green and cultural criminologies
Index