By Nicole Rafter, Michelle Brown
From a glance at classics like Psycho and Double Indemnity to fresh movies like site visitors and Thelma & Louise, Nicole Rafter and Michelle Brown exhibit that criminological conception is produced not just within the academy, via scholarly examine, but additionally in pop culture, via film. Criminology is going to the Movies connects with ways that scholars are already considering criminologically via engagements with pop culture, encouraging them to exploit the typical international as a automobile for theorizing and knowing either crime and perceptions of illegal activity. the 1st paintings to deliver a scientific and complex criminological standpoint to endure on crime motion pictures, Rafter and Brown’s ebook offers a clean method of taking a look at cinema, utilizing the ideas and analytical instruments of criminology to discover formerly disregarded meanings in movie, finally making the learn of criminological idea extra attractive and potent for college kids whereas concurrently demonstrating how theories of crime move in our mass-mediated worlds. the result's an illuminating new manner of seeing videos and a pleasant means of studying approximately criminology.
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Additional resources for Criminology Goes to the Movies: Crime Theory and Popular Culture
These are mediated by various tangible cues that tell people what they might get away with. People make decisions accordingly. They are somewhat constrained, but not necessarily all day or all week. The constraints shift from one setting to another. 13 For opportunity theorists, the criminal act is the outcome not simply of decisions but of contexts and opportunities that converge in time and space with offenders’ decisions. Offenders must be motivated, there must be suitable crime targets (potential victims) and, in addition, capable guardians who might prevent the crime from occurring.
Til a while ago, that is. 18 | “For Money and a Woman” Double Indemnity follows Walter Neff ’s murder confession through flashbacks as he records it by dictating machine in the office of his colleague and friend, Barton Keyes. This setup produces a step-by-step narrative of the decisions Neff makes in his descent into crime—a plan that, despite its careful organization, ultimately unravels. 14 The crime originates when Neff (Fred MacMurray), an insurance salesman, in the course of attending to business in a Los Angeles residential neighborhood, remembers a set of auto renewals at a nearby address.
35 is a result of interactions between biology and environment, “nature” and “nurture,” and while they hold that biological makeup affects the individual, they do not argue that biology operates in a vacuum to determine who we become. 26 Biological theories of crime, then, have a long and, in some cases, disgraceful history. How do these theories show up in movies? Frankenstein Biological theories of crime achieved their most perfect realization in Frankenstein, director James Whale’s horror film of 1931.