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Street culture, the states of being, beliefs, and patterns of behavior associated with the most excluded urban populations, can be observed across the world in numerous varieties. Scholars of “slum” life have noted concerns that bear curious similarities over time and space, speaking to issues of exclusion, crime, and criminalization, and to expressive practices that have come to inspire a range of cultural products that are now heavily marketized. Street cultures are at the apex of different debates and studies. Are street cultures, which emphasize entrepreneurial “hustles” and fierce competition, fundamentally different from mainstream cultures of neoliberal capitalism and consumerism? Studying varieties of street culture and the extent to which individuals adhere to them in different ways highlights the complexities of the relationship between the impoverished self and contemporary social structures: new iterations of racism, patriarchy, and inequality. Examining street expressive practices, such as graffiti art, streetwear, and a variety of musical genres, is far from decorative where it reveals new ways in which the disadvantaged are criminalized while the culture industries are reinvigorated. Included populations are both fearful of and fascinated by the urban poor in a manner that simultaneously supports harsh criminal justice measures and cultural exploitation.
Michelle S. Phelps and Caitlin Curry
Over the past half-century, the number of adults under criminal justice supervision increased precipitously in some Western countries, with carceral control in the United States reaching an unprecedented scale. While much of the scholarly attention has been focused on the development of mass incarceration, new research focuses on the parallel expansion of mass probation and, more broadly, mass supervision. In the United States, the number of adults on probation and parole supervision increased from one million in 1980 to a peak of nearly 5.1 million in 2007, more than double the number of inmates in local, state, and federal jails and prisons. Estimates from Europe in the late 2000s suggest that there were approximately 3.5 million on community sanctions, compared to 2 million incarcerated. Individuals on these sanctions serve out their initial sentences (or remaining time after release from jail or prison) while residing in the community under the supervision of a probation or parole officer.
As scholarship increasingly focuses on the expansion of community supervision, we are learning more about this form of punishment. Probationers and parolees are subject to a variety of conditions, including reporting regularly to their supervising officers, finding and maintaining employment, avoiding drug use and re-arrest, participating in therapeutic programs, and paying fines and fees. Failure to comply with the demands of supervision may result in variety of penalties, up to a return to custody for the entire length of the suspended prison sentence. Thus, while probation and parole are often framed as acts of leniency—allowing individuals to avoid incarceration and/or exit early—they can be experienced as quite punitive. In other words, the official discourses and everyday practices of supervision blend both punitive and rehabilitative elements. The composition of this blend varies significantly across countries, states, local departments, individual officers, and the officer-supervisee relationship. This variation has produced a kaleidoscope of different practices, all under the banner of community supervision.
The survey, a research methodology in which variables are measured through the answers to questions on a data collection tool called a “survey questionnaire,” has been used to investigate several potential relationships between mass media and crime. In almost all studies, the relationship hypothesized is media influence, in which the media images change the consumer’s attitudes, beliefs, and behavior. Most commonly the hypothesized change is behavioral: individuals who consume violent, sexual, or otherwise suspect media images purportedly have a heightened risk of engaging in criminal acts. Other hypothesized effects of media consumption that are studied frequently include racist or otherwise biased attitudes, which could impact decision making during the criminal justice process; inaccurate beliefs about crime, with an impact on fear of crime and resultant changes in public policy; and the CSI Effect, an exaggerated belief in the efficiency of forensic science in identifying criminal offenders, which could sway jury decisions.
Survey-based research studies have rarely found that mass media consumption has a significant impact on criminal behavior or biased attitude, and its impact on beliefs about crime are contingent on many more significant factors. While these poor results may suggest that there is indeed minimal impact, the problem may lie within the methodology itself, in the ability of survey-based questions and answers to adequately measure the independent variable (media consumption) and the various dependent variables. Additionally, the problem may lie within the essential premise of media influence, with its passive, naive viewer and a radical disjunction between media and real life.
Anthony Petrosino, Claire Morgan, and Trevor Fronius
Systematic reviews and meta-analyses have become a focal point of evidence-based policy in criminology. Systematic reviews use explicit and transparent processes to identify, retrieve, code, analyze, and report on existing research studies bearing on a question of policy or practice. Meta-analysis can combine the results from the most rigorous evaluations identified in a systematic review to provide policymakers with the best evidence on what works for a variety of interventions relevant to reducing crime and making the justice system fairer and more effective. The steps of a systematic review using meta-analysis include specifying the topic area, developing management procedures, specifying the search strategy, developing eligibility criteria, extracting data from the studies, computing effect sizes, developing an analysis strategy, and interpreting and reporting the results.
In a systematic review using meta-analysis, after identifying and coding eligible studies, the researchers create a measure of effect size for each experimental versus control contrast of interest in the study. Most commonly, reviewers do this by standardizing the difference between scores of the experimental and control groups, placing outcomes that are conceptually similar but measured differently (e.g., such as re-arrest or reconviction) on the same common scale or metric. Though these are different indices, they do measure a program’s effect on some construct (e.g., criminality). These effect sizes are usually averaged across all similar studies to provide a summary of program impact. The effect sizes also represent the dependent variable in the meta-analysis, and more advanced syntheses explore the role of potential moderating variables, such as sample size or other characteristics related to effect size.
When done well and with full integrity, a systematic review using meta-analysis can provide the most comprehensive assessment of the available evaluative literature addressing the research question, as well as the most reliable statement about what works. Drawing from a larger body of research increases statistical power by reducing standard error; individual studies often use small sample sizes, which can result in large margins of error. In addition, conducting meta-analysis can be faster and less resource-intensive than replicating experimental studies. Using meta-analysis instead of relying on an individual program evaluation can help ensure that policy is guided by the totality of evidence, drawing upon a solid basis for generalizing outcomes.
Legal discourse is language that people use in a globalizing and multicultural society to negotiate acceptable behaviors and values. We see this played out in popular cultural forums such as judicial television dramas. In the American context, television judge shows are virtually synonymous with reality courtroom television. There have been a few judge shows, but these have been completely overshadowed by the success of reality courtroom television. The first reality courtroom show was The People’s Court, and its history and early success are discussed in the opening section of this article. The next section looks at the television judge show landscape after the first incarnation of The People’s Court up to the present day in the United States. The third section is dedicated to a discussion of television judge shows outside the United States, chiefly in Europe. The focus is on German and Dutch versions and on the ways in which they differ from the original U.S. versions. This section also briefly looks at the effects of modern digital technology on the judicial genre and asks whether enhanced viewer engagement and crowdsourced justice in the near future will force judges to bow to the popular will, on and off the small screen.
The themes of terrorism and counter-terrorism have infused the America media’s cultural production for several decades. These popular culture products were designed first for consumption by domestic audiences but also for export to audiences throughout the world, quickly assuming a role in US cultural imperialism. Much of this production took the form of news reports about political turmoil, sectarian violence and liberation, independence or nationalist movements—almost always occurring “somewhere else” in the world. Still others appeared as fictional narratives embedded within diverse entertainment genres such as political thrillers, war, sci-fi, romance and suspense, sometimes in a lifeworld that paralleled that of the domestic audience. But more often than not this production took the form of lifeworlds mimicking foreign lands, mythical pasts, or dystopian futures. Popular culture’s tales of terrorism and counter-terrorism maintained this relatively stable pattern for much of the last quarter of the 20th century. Al-Qaeda’s terrorist attacks against the United States on 11 September 2001 considerably impacted that narrative pattern, and while not fundamentally changing the script, this attack resulted in significant rewrites. To begin, the portrayal of terrorism and the War on Terror, both real and fictionalized, became the central theme in a great deal of popular culture, including television programs, feature films, PC/video games, YouTube videos, advertisements, popular music, and of course, the news. These mediated texts—in essence, stories that the US cultural industries tell about terrorism and the state’s attempts to fight it—reconstituted the social reality of terrorism and counter-terrorism. In the immediate aftermath of al-Qaeda’s attacks, the American cultural industries increasingly served as a conduit for US hegemony, both at home and abroad. While there is a long history of arm’s-length cooperation between the state and the entertainment industry in the production of popular culture products that can be traced back to the early 1930s, the immediate post-9/11 period heralded an era of not only more terrorism and counter-terrorism narratives but also narratives whose content changed incrementally (but ultimately markedly) largely as a result of the state’s direct involvement in crafting them.
Chief among the changes was the streamlining of a narrative that emphasized the growing ubiquity of terrorist threats to the American people on US soil. Indeed, in the lifeworlds created by post-9/11 popular culture, terrorism and counter-terrorism are no longer things that happen primarily or exclusively elsewhere. America’s business interests abroad, its embassies and military installations, are no longer the only likely targets of terrorist activity. These traditional targets have been augmented by many others, including iconic buildings in major cities, national monuments, and critical infrastructure—as well as by more mundane parts of the US landscape, such as schools, sports stadiums, amusement parks, and shopping malls. Like that espoused by the state, the culture industries’ narrative is clear; no one is safe from terrorism.
Predictably, the narrative shift that amplified the danger, barbarism, and proliferation of the terrorist threat was complimented by one which aggrandized the counter-terrorist efforts of the United States. In popular culture’s various lifeworlds counter-terrorism strategies, no matter how extreme, are understood as reasonable and legitimate. The narratives, comprised almost wholly of fetishized presentations of military, national security, and law enforcement agents with state- of-the-art weaponry dispatching terrorists with deadly force, provide virtually no political or socio-historical context and offer no alternative to resolving conflicts other than the unfettered use of state violence.
As such, popular culture’s presentation of terrorism and counter-terrorism serves to provide the resolution that the real-world War on Terror promised but did not deliver, while at the same time contributing to a narrative that demands its continuation.
Prosecutors and members of law enforcement have complained that television shows such as CSI: Crime Scene Investigation have cultivated in jurors’ unreasonable expectations about forensic evidence, specifically that jurors require definitive forensic proof of guilt, or else they will wrongly acquit. This is popularly known as “CSI Effect.” Despite the popularity of this belief, there is little empirical evidence substantiating it. In fact, the majority of studies exploring CSI Effects have found evidence supporting a variety of impacts that advantage, rather than disadvantage, the prosecution. For instance, these programs frame forensics as objective and virtually infallible, bolster forensic technicians and the value of evidence associated with them, and promote schema that endorse prosecution narratives. Indeed, it appears that among CSI’s most salient impacts on the legal system comes not from these television programs distorting juror decision-making, but because lawyers and judges mistakenly believe such an effect exists, and, therefore, alter their behavior in response. It thus appears that the realities of the CSI Effect are quite different than the persistent mythology of it.
This article explores what happens to criminal evidence after the conclusion of legal proceedings, described here as the afterlife of evidence. The text investigates the ways that this material proliferates in the shadow of the law, in both cultural and commercial contexts. During the criminal trial, the rules of evidence and criminal procedure operate to tightly regulate the collection, admissibility, and interpretation of evidence. After the criminal trial, these rules no longer control evidence, and this material is sometimes subject to the substantial cultural curiosity associated with true crime and its artifacts. This article sets out some of the new questions that are posed by this material when it is transferred beyond the law’s control.
In examining Aboriginal riots, the conditions of political antagonism and the distinct ways these relations of antagonism are played out take precedence. Ethnographic approaches that analyze the substance of situated cultural meanings are central to understanding these relations. Drawing upon Allen Feldman’s ethnographic account of the “Troubles” in Northern Ireland for some of its interpretive framework, this article surveys the methodological value and importance the Manchester School of Anthropology placed on “atypical events,” moments when irresolvable tensions boil to the surface. For anthropologists, what is important in understanding riots is the manner in which participants themselves extract meanings in violence. What do they say about the violence? How is it culturally situated in particular social and political contexts? Different antagonists create their own moral economy that then legitimates their repertoires of violence.
Paul Cozens and Terence Love
This chapter provides an overview of the principles of Crime Prevention Through Environmental Design (CPTED). The paper focuses on the “dark side” of CPTED, a relatively underreported element to this theory, which relate to the negative outcomes that can result if CPTED is not implemented thoughtfully and equitably as a process. This chapter highlights why it is important to understand the “dark side” and provides examples of “dark-side” CPTED outcomes, such as the excessive use of target hardening, governance issues, and the use of CPTED as “crime prevention through exclusionary design.” The chapter highlights CPTED as a process, which can be enhanced to consider “dark-side” issues, using program logic models.
Taunya Lovell Banks
Crime films defy precise definition. This category includes traditional courtroom films like Witness for the Prosecution (1957), detective films like Gone Girl (2014), prison films like The Shawshank Redemption (1994), comedies like My Cousin Vinny (1992) or Find Me Guilty (2006), gangster films like The Godfather series (1972, 1974, 1990), and even musicals like Chicago (2002). Thus crime films provide an almost limitless variety of plots, characters, and settings. Adopting a very broad definition of what constitutes a “crime film”, the representation of race in crime films throughout the 20th and early 21st centuries is examined.
During much of the early and mid-20th century, crime on American Main Street silver screens was largely a white phenomenon. The absence of people considered nonwhite from early crime films is unsurprising because “whiteness is positioned as the default category, the center or the assumed norm on which everything else in American society is based. Under this conception, white is often defined more through what it is not than what it is.” Racial outsiders like African and Asian Americans, Native Americans, Latinos, and other persons considered nonwhite were not featured on America’s movie screens. If they appeared at all in early crime films it was as marginal stereotypical characters.
Stereotyping, when used in film, is designed “to quickly convey information about characters and to instill in audiences expectations about characters’ actions.” During the early days of American films nonwhites were encoded with negative, often criminal, stereotypes. In silent films like Birth of a Nation (1915), for example, African American men were depicted as rapists and violent brutes. Mexicans in The Greaser’s Gauntlet (1908) and Guns and Greasers (1918) were depicted as criminals. Silent films like The Massacre (1912) and The Battle of Elderbush Gulch (1913) portrayed Native Americans as lawless savages, an image reinforced throughout the 20th century by western films. In The Cheat (1915) Japanese male immigrants were depicted as wily sexual predictors. The stereotypes attributed to ethnic Chinese were slightly different and more exaggerated. Films like The Heathen Chinese and the Sunday School Teacher (1904) and The Yellow Peril (1908) demonized Chinese immigrants as villainous predictors. In episode 13 of the film serial The Exploits of Elaine (1914) the protagonist, Pearl, “[t]rapped in a lair of Chinese devil worshipers . . . is spared rape, a fate worse than death, in favor of ritual sacrifice to an Oriental demon who demands a bride ‘blond, beautiful and not of our race’.” Although nonwhites’ conduct was criminalized in these films, the films themselves were not crime films.
Despite a growing consensus that “mass incarceration” in the United States has reached unacceptable levels, there has been little movement in its decline. National imprisonment rates seem to have stabilized and will remain so absent a major decarceration effort. To implement such a decarceration effort requires a strategic plan that will lower prison admissions and lengths of stay for all prisoners—especially those convicted of violent crimes. It will also need to reduce the more pervasive nature of other forms of correctional control (jails, probation, and parole). Such a strategy, which relies upon current and past policies, is entirely feasible. But to take hold on a national level, the plan must negate economic and public safety concerns that favor maintaining high imprisonment and correctional control rates.
Ronald V. Clarke
Situational crime prevention is radically different from other forms of crime prevention as it seeks only to reduce opportunities for crime, not bring about lasting change in criminal or delinquent dispositions. Proceeding from an analysis of the circumstances giving rise to very specific kinds of crime and disorder, it introduces discrete managerial and environmental modifications to change the opportunity structure for those crimes to occur—not just the immediate physical and social settings in which the crimes occur, but also the wider societal arrangements that make the crimes possible. It is therefore focused on the settings for crime, not on delinquents or criminals. Rather than punishing them or seeking to eliminate criminal dispositions through improvement of society or its institutions, it tries to make criminal action less attractive. It does this in five main ways: (1) by increasing the difficulties of crime, (2) by increasing the immediate risks of getting caught, (3) by reducing the rewards of offending, (4) by removing excuses for offending, and (5) by reducing temptations and provocations. It accomplishes these ends by employing an action research methodology to identify design and management changes that can be introduced with minimum social and economic costs. Central to this enterprise is not the criminal justice system but a host of public and private organizations and agencies—schools, hospitals, transit systems, shops and malls, manufacturing businesses and phone companies, local parks and entertainment facilities, pubs and parking lots—whose products, services, and operations spawn opportunities for a vast range of different crimes. Some criminologists believe that the efforts that these organizations and agencies have made in the past 20 or 30 years to protect themselves from crime are responsible for the recorded crime drops in many countries.
Situational crime prevention rests on a sound foundation of criminological theories—routine activity theory, crime pattern theory, and the rational choice perspective—all of which hold that opportunity plays a part in every form of crime or disorder. There is therefore no form of crime that cannot be addressed by situational crime prevention. To date, more than 250 evaluated successes of situational crime prevention have been reported, covering an increasingly wide array of crimes including terrorism and organized crimes. Many of the studies have found little evidence that situational interventions have resulted in the “displacement” of crime to other places, times, targets, methods, or forms of crime. Indeed, it is commonly found that the benefits of situational crime prevention diffuse beyond the immediately targeted crimes. Despite these successes, situational crime prevention continues to attract much criticism for its supposed social and ethical costs.
Lizzie Seal and Maggie O'Neill
Transgressive imaginations refers to the breaking of rules and taboos including, but not limited to, acts of crime and violence as they are represented in fictive texts and ethnographic research. The focus here will be on the fictive, rather than ethnographic, element. Transgression can be understood not only as exceeding boundaries or limits but as resistance, protest, and escape. Particularly apposite is the portrayal of “heroes” and “villains” in different cultural forms, and how these contribute to popular understandings.
Cultural portrayals of those who transgress societal norms are frequently stigmatizing, and label them as mad, bad, and abject. However, the analysis of transgression also entails radical democratic possibilities, whether this is through research that challenges restrictive stereotypes and normative assumptions, or the means through which those labeled “outsiders” defy their marginalization. Cultural representations of transgression are not necessarily supportive of culturally dominant or conservative positions and can instead offer new ways of imagining social identities and social change. The ways in which transgression is imagined can both construct and challenge moral boundaries.
True crime reporting was extremely popular in early modern England (ca. 1550–1800). Depending on when this literature was written, and the audience it was intended to attract, the sub-genres of true crime writing took the form of small pamphlets, broadsides, rhyming ballads designed to be sung to a familiar tune, ministers’ accounts of criminals and repentance, collections of trials, newspapers, and biographies of professional criminals. In addition to being inherently shocking and entertaining, this literature served as cautionary, religious, and morality tales that reflected on serious crime as one of the signs that English society had become ignorant, irreligious, and immoral. These tales of true crime could be used to remind a wide readership of the wages of sin, and of the role of the community, church, and state in bringing about justice for criminals and their victims. In a society that placed significant restraints on sexual, personal, and religious freedoms, and exhorted obedience, deference, hard work, sexual restraint, and abstinence from all forms of vice, true crime literature could help to restore order and balance to society. To accomplish these various goals, the authors of true crime literature were not very faithful reporters, often embellishing criminal deeds, publishing small portions of much lengthier cases, or fabricating facts as needed to fill in unknown details or to improve readers’ fear of and education about the criminal element that surrounded them. As this literature developed in the 18th century, its authors became famous for reporting about infamous criminals in semi-biographical novels, thus merging true crime literature with fiction and giving rise to another genre of crime literature by about 1800.
Arthur J. Lurigio and Elizabeth Maine Ellis
Civil abatement involves the use of non-criminal remedies to address crime and public disorder in communities. Such remedies can hold accountable nonperpetrators of criminal activities, such as property and business owners, if those activities occur on the premises of the buildings or establishments that they are responsible for managing. Known as third-party policing, civil abatement strategies can also seek equity for non-criminal behaviors (e.g., standing in a public way), which are deemed to pose a threat to public safety, disrupt social order, and precipitate subsequent crimes. For example, antigang and antidrug ordinances are designed to alter situations or environments that provide opportunities for criminal activities. By bringing petitions to the civil courts, injunctions can be issued against the agents of public nuisances, such as known gang members who threaten the public by loitering on the streets or drug sellers who operate clandestinely from apartment buildings or drinking establishments. Violations of court injunctions can result in the closure of a property, the loss of a liquor license, or an arrest.
The uses of civil remedies to curtail or eradicate gang and drug activities have been challenged in the courts. For example, antiloitering ordinances have been found to be too vague in their proscriptions, too broad in their scope, and too nebulous in their targeting of residents. Such ordinances have also been found in violation of First or Fourteenth Amendment Rights. Nuisance abatement programs to reduce drug selling on private properties have resulted in modest successes in terms of enlisting property owners’ cooperation in evicting dealers from apartment buildings and appear to be effective with only an issuance of warning letters to landlords.
What is a “snowball”? For some, a snowball is a drink made of advocaat and lemonade; for others, a mix of heroin and cocaine injected; for yet others, a handful of packed snow commonly thrown at objects or people; for gamblers, it refers to a cash prize that accumulates over successive games; for social scientists, it is a form of sampling. There are other uses for the term in the stock market and further historical usages that refer to stealing things from washing lines or that are racist. Clearly then, different people in different contexts and different times will have used the term “snowball” to refer to various activities or processes. Problems like this—whereby a particular word or phrase may have various meanings or may be interpreted variously—are just one of the issues for which cognitive interviews can offer insights (and possible solutions).
Cognitive interviews can also help researchers designing surveys to identify problems with mistranslation of words, or near-translations that do not quite convey the intended meaning. They are also useful for ensuring that terms are understood in the same way by all sections of society, and that they can be used to assess the degree to which organizational structures are similar in different countries (not all jurisdictions have traffic police, for example). They can also assess conceptual equivalence. Among the issues explored here are the following:
• What cognitive interviews are
• The background to their development
• Why they might be used in cross-national crime and victimization surveys
• Some of the challenges associated with cross-national surveys
• Ways cognitive interviews can help with these challenges
• Different approaches to cognitive interviewing (and the advantages of each)
• How to undertake cognitive interviews
• A “real-world” example of a cognitive interviewing exercise
• Whether different probing styles make any difference to the quality of the data derived.
Using Naturalistic Observation to Develop Crime-Control Policies in Nighttime Entertainment Districts
For the last 20 years, research based on the idea that opportunities for crime are related to specific times and places has informed crime-control policies in nighttime entertainment districts. In order to examine crime in these areas, many studies have relied on large data sets that associate city- and neighborhood-level factors with crime and delinquency. These studies have helped us understand the importance of environmental and situational factors, as well as the impact of changes in legislation and regulations to control alcohol availability (e.g., reducing the density of alcohol outlets and trading hours) and the implementation of interventions in licensed premises to reduce intoxication and disorder. However, when informing crime-control policies, the use of alternative methods to examine entertainment districts, such as naturalistic observations, can be vital. Because nighttime entertainment districts are extremely complex environments, observation is useful to examine and identify situational factors and local dynamics that increase or decrease the opportunities for crime in specific places. Observational methods can be particularly useful to understand the context in which criminal behavior and aggressive incidents occur, the interplay of situational risk factors specific to a public drinking environment, and the social and cultural factors (e.g., the relationship between police, staff, and customers) that can facilitate or challenge the implementation of crime-control strategies in these multifaceted contexts.
Naturalistic observation is a data-collection method that involves accessing the field to systematically record and describe features of the space, people’s characteristics and patterns of movement, individual behaviors, and exchanges between actors in natural settings. It can be used in both quantitative and qualitative designs, although in different ways. In entertainment districts, researchers have used this method to understand crimes that are underreported and underregistered, such as sexual harassment, and to study patrons’ behaviors in licensed premises and surrounding streets, as well as staff management practices and control strategies. While they have some limitations, such as the fact that information is filtered by what observers see and how they interpret events, observation methods can uniquely contribute to the development of crime-control policies in entertainment districts by focusing on specific situational and cultural factors relating to violence and crime at a local level, as well as suggesting differentiated responses to the types of incidents that take place in these settings.
Bianca Fileborn and Rachel Loney-Howes
This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Criminology and Criminal Justice. Please check back later for the full article.
The development of social media, and Web 2.0 more broadly, has revolutionized all aspects of our social, cultural, and political lives. Notably, social media and online platforms have opened up space for resisting gender-based violence in a way that, in some respects, was not possible “offline.” Some authors, drawing on Nancy Fraser, have conceptualized online spaces as a form of “counterpublic”—a site in which collective and individual resistance to, and contestation of, dominant norms is enabled. Given the well-documented trajectories of victim-blaming and the perpetuation of various myths and misperceptions in relation to gender violence, social media spaces can function as a counterpublic or countercultural forum in which victim-survivors can give voice to their experiences in their own words, and in doing so challenge persistent norms and stereotypes. Such practices have been documented across the Global North and South, with the potential of social media as a space of resistance and contestation most recently evidenced by the #MeToo global phenomenon, which was preceded by a string of digital activist efforts such as SlutWalk, Hollaback, #WhyIStayed, and #EndRapeCulture.
Yet, the use of digital platforms to resist gender violence brings with it a range of concerns and limitations. While some activists and victim-survivors are able to harness social media to share experiences and be heard, the ability to do so continues to be shaped by factors such as age, (dis)ability, sexuality, socioeconomic status, race, and geographical location. Online resistance has likewise faced critiques for actively reproducing certain myths and stereotypes about gender violence, or for providing a limited or partial picture of what this violence “is.” This suggests that only certain victim-survivors and experiences are recognized and validated as such online. In addition, online disclosure and the “naming and shaming” of perpetrators raises serious concerns regarding due process and “vigilantism.” Moreover, social media spaces can themselves be sites of gender violence, with the routine harassment and abuse of (particularly) women online increasingly well documented. Together, such perspectives illustrate the complex, nuanced, and deeply political role of social media as a site of resistance to gender violence.
Vengeance or revenge has been characterized in popular culture in a range of different ways. Within theories of criminology and social psychology, its relationship to retribution has been examined along with notions of deterrence and rehabilitation. Vengeance has been prevalent within a range of various belief systems as well as in myths, legends, and sacred texts. While vengeance seems to be a feature in all cultures, its acceptance as an appropriate response has been less than clear. It has been weighed alongside a preference for forgiveness, and tensions between these two options against harm have come to the fore in more recent times.
A distinction can usefully be made between vengeance undertaken by the state and the community on the one hand, which might be termed the revenge of the legal process and that exacted by the individual or family. The vengeance theme has been a major feature of Western culture in its expression in Greek literature and theater, through classical authors like Shakespeare and Racine to the present day. There is a link to popular literature as well as the more elusive world of popular theater and its occasional forays into the revenge theme.
The major expression of revenge within mass cultural forms, however, has been in film. Initially production codes prevented revenge being shown as having a successful outcome. Since the 1970s, however, a major modern version of portraying revenge that recurs within modern cinema throughout the world has been the vigilante film. This model of vengeance operates on the notion of an individual responding to the failings of the official system of securing proportionate or effective retribution. There are particular recurring features in these films including a disruptive random unlawful event, the law taking its course, a system malfunction, a trigger to revenge, and a coda stressing the efficacy of vengeance. Along with this is a significant subgroup within the cinema of personal revenge, the rape-revenge film. There has been extensive scholarship on this type of film and its rather different elements. A distinction can be made on the basis of the nature and perceived audience between this trope and the wider world of vengeance movies.
There has been relatively limited coverage of the revenge theme in television. The changes in the forms of media provide fresh opportunities for coverage of the vengeance theme in the 21st century. The contrast between the community approach of law and that of the individual seeker after revenge are formally different, but in the end they both involve elements of vengeance.