You are looking at 221-240 of 259 articles
Richard B. Felson
Since criminal violence involves doing harm to someone (as well as rule breaking) a theory of aggression is needed to help explain it. A social interactionist (SI) theory of aggression fits the bill. According to this perspective there are strong incentives for aggression. Sometimes individuals harm or threaten to harm others in order to force compliance. They compel the target to do something for them or deter them from doing something that offends them. Sometimes they punish someone who offends them in order to achieve justice or retribution. They feel morally justified and self-righteous about their behavior. Sometimes they are attempting to assert or protect their self- or social image. Finally, some violence involves thrill seeking. These are basic motives of human behavior, and they can readily explain the incentives for both verbal and physical aggression.
An SI perspective is a challenge to frustration-aggression approaches (including general strain theory) that claim that aversive stimuli and negative affect instigate aggression. Negative affect plays a much more limited causal role in producing violence from an SI perspective. A bad mood after an aversive experience may facilitate an aggressive response if people fail to consider costs and moral inhibitions when they are in a bad mood. The aversive experience does not instigate aggression unless the person responsible is assigned blame. Blame is critical because it leads to a grievance and a desire for retribution.
Some acts of criminal violence are predatory, and some stem from verbal disputes. The violence of the robber, the rapist, and the bully are usually predatory. Most homicides and assaults stem from disputes. It is therefore important to study the social interaction during disputes in order to understand why they sometimes escalate to violence. A social interactionist approach suggests it is important to study interpersonal conflict that underlies dispute-related violence, since conflict often leads to grievances. Cooperative face-work (i.e., politeness) prevents violence because it avoids attacks on selves. When such attacks occur, they tend to lead to retaliation and the possibility of escalation. Third parties can influence the outcome if they instigate or mediate the dispute, or just serve as a passive audience. Mediators can allow both sides to back down without losing face, but they can also encourage weaker parties to fight. Finally, violence can be considered a form of informal social control when social control by third parties is ineffective.
An SI approach emphasizes the importance of adversary effects (i.e., the physical threat posed by adversaries). People take into account the relative coercive power of their opponent when they decide whether to engage in violence and what tactics to use. If they attack adversaries who are physically stronger, they may rely on weapons or allies. Adversary effects explain why armed violence spreads across a community and why it lowers rates of unarmed violence. They help to explain variation in violent crime across nations, regions, and racial/ethnic groups.
Chris Cunneen and Sophie Russell
The pervasiveness and prominence of mass media are key features of contemporary societies. Nowhere is this more relevant than when we look at the ubiquity of social media. In recent years, anticrime Facebook pages have appeared across all states and territories in Australia, and as our social spaces increasingly shift from the physical to the virtual realm, different forms of online cybervigilantism have emerged. This article explores the ways in which community justice and vigilantism in Australia are exercised through social media in the wider context of the racialized criminalization of Indigenous young people. We also discuss how new forms of media are used to produce and reproduce a racialized narrative of crime, which at the same time has the effect of legitimating violence against young Indigenous Australians. The text draws on a number of anticrime Facebook pages and finds that the very presence of these sites legitimates the beliefs of its members, while providing details about potential targets, most of whom are young people. We contend that the views expressed on these sites mirror, in more prosaic language, sentiments that are expressed in sections of the old media and among a number of ultraright politicians and groups. Further, these sites do little to question the broader ideological and political frameworks that present crime and disorder as being divorced from structural and historical conditions. There is, then, an assumed social consensus around what is being presented on these Facebook sites: namely, that overt racism and calls to vigilante violence are socially and politically acceptable. While there appears to be a direct link between the Facebook groups and incidents of violence in some cases, on a broader level, it is the constant reinforcement of an environment of racist violence that is most troubling.
Carlos Monteiro and Natasha Frost
With its long and storied history, solitary confinement has fascinated Americans since the birth of the penitentiary in the late 1700s. Once a practice that loomed large in literary representations of a distant and mysterious institution, solitary confinement has more recently been brought to the forefront of public discourse through its many representations across mediums of popular culture. Today, given popular culture’s global reach, the mystique of solitary confinement has diminished sharply, and conversations about this controversial practice are no longer limited to college classrooms, textbooks, and peer-reviewed journals. What many once referred to as a mysterious hole reserved for the worst of the worst offenders and covered for decades primarily through literary formats, is now commonly discussed in the comment sections of investigative reports and YouTube videos depicting footage from actual solitary confinement cells. The comments accompanying such popular culture representations in many ways reflect current debates about the efficacy of the practice. Today, for example, it is easy to come across representations of solitary confinement that showcase its necessity as an effective prison management tool and it is equally easy to find representations that highlight the anguish and burden of solitary confinement. Today, popular media have become one of the most effective mechanisms for disseminating information regarding important social issues, including solitary confinement.
Carceral geography has emerged as a vibrant and important subdiscipline of human geography, and there is increasing, and productive, dialogue among human geographers concerned with the carceral and disciplinary scholars with longer-standing engagements with incarceration and detention. Although the geographical study of the prison and other confined or closed spaces is relatively new, this dialogue between carceral geography and cognate disciplines of criminology and prison sociology, ensures that carceral geography now speaks directly to issues of contemporary import such as hyperincarceration and the advance of the punitive state.
Carceral geography addresses a diverse audience, with geographical approaches to carceral space being taken up by and developed further within human geography, and in criminology and prison sociology. Carceral geography has emerged in concurrence with the “spatial turn” in criminology, and the spatialization of carceral studies, and the particular ways in which carceral geographers have engaged spaces and practices of incarceration—specifically with concerns for mobility, for multisensory carceral experiences, and for methodology—may offer further, and productive, avenues of collaboration between geographers and criminologists concerned with the carceral.
Sport is a part of our shared global and separate national popular cultures. Understanding of baseball may be low in the United Kingdom and may come from films like Field of Dreams, but the phrase “three strikes and you’re out” has entered English and Welsh Criminal Justice practice. Such mandatory sentencing for repeat offenders are, like “zero tolerance” or “the war on drugs,” often seen as imports from the Unites States. The popularity of baseball in Japan may be known to only a few outside that country. Many will associate Sumo with Japan, fewer will know of corruption and betting scandals (on baseball!) in the sport. The global sports of football and athletics/track and field have seen major corruption scandals. In athletics, that corruption may also involve the covering up the use of performance enhancing drugs. The sport most associated with drugs is cycling. The premier cycling—and popular cultural, event—the Tour de France, has seen occupational drug taking on a considerable scale, with the rise and fall of Lance Armstrong being the only knowledge of the sport that many will have.
All these sports have waged their “war on drugs” or corruption, and these have entered popular culture through books and films. Yet many still believe sport to have noble roots and beneficial outcomes. Projects set up to prevent crime or encourage desistance from it are popular around the world; examples being soccer or rugby for prisoners, car racing for “joyriders,” or challenging adventure trips. Even tennis, golf, and video games have their supporters. Many successful boxers speak of troubled pasts from which their sport (and popularity) has saved them. However, many have found that fame (or loss of fame) and physical prowess have led them into trouble. There are also political and moral objections to sport. Specifically, there are feminist objections to the violence of some sportsmen towards women, as shown by stars of the NBA and NFL, NCAA athletes, and even local college teams. The occasional violence of sportswomen is treated, like women’s crime, as doubly deviant and especially newsworthy.
Gerald Cliff and April Wall-Parker
As far back as the 19th century, statistics on reported crime have been relied upon as a means to understand and explain the nature and prevalence of crime (Friedrichs, 2007). Measurements of crime help us understand how much of it occurs on a yearly basis, where it occurs, and the costs to our society as a whole. Studying crime statistics also helps us understand the effectiveness of efforts to control it by tracking arrests and convictions. Analysts can tell whether it is increasing or decreasing relative to other possible mitigating factors such as the economy or unemployment rates in a community. Politicians can point to crime statistics to define a problem or indicate a success. Sociologists can study the ups and downs of crime rates and any number of other variables in the society such as education, employment rates, ethnic demographics, and a long list of other factors thought to affect the rate at which crime is committed. Property value is affected by the crime rates in a given neighborhood, and insurance rates are said to fluctuate with the ups and downs of crime.
Analyzing any criminal act’s prevalence, cost to society, impact on victims, potential preventive measures, correction strategies, and even the characteristics of perpetrators and victims has provided valuable insights and a wealth of useful information in society’s efforts to combat violent/index crimes. This information has only been possible because there is little disagreement as to exactly what constitutes a criminal act when discussing violent or property crimes or what has come to be grouped under the catch-all heading of “street crime”; this is decidedly not the case with crimes included under the white-collar crime umbrella.
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.