File #2787: "2019_Book_CrimeDevianceAndPopularCulture.pdf"
Text
1|Acknowledgements|6
1|Contents|7
1|Notes on Contributors|10
1|List of Figures|14
1|List of Tables|15
1|1: Introduction: Crime and Deviance through the Lens of Popular Culture|16
2|References|23
1|Part I: The Twenty-First-Century Fictional Detective|25
2|2: Deviant Detectives in the Scandinavian Welfare State: The Girl with the Dragon Tattoo and The Bridge|26
3|Introduction|26
3|The Rise of the Deviant Detective in the Post-Welfare State|28
3|Nordic Narratives of Proximity|31
3|Diagnosing The Girl with the Dragon Tattoo|35
4|The Crime Novel and the Autism ‘Epidemic’|38
3|Diagnosing Saga Norén|41
3|Conclusion|48
3|References|50
2|3: The Representation of Crime and Criminals in the TV Series Sherlock and Elementary: A Corpus Study|53
3|Introduction|53
3|Sherlock Holmes: A Diachronic Cultural Hero|55
3|Data and Methodology|56
3|Keywords in Sherlock and Elementary|59
3|The Field of Crime in Sherlock and Elementary|61
3|Criminals and Victims|66
4|The Criminal and Criminal Types|67
4|Criminal Groups|74
3|Discussion|75
3|Conclusion|78
3|Appendix|79
3|References|80
2|4: Person of Interest or Crime and Surveillance on Post-9/11 Network TV|84
3|Person of Interest: the Ambiguities of Crime and Surveillance|84
3|AI-ing Surveillance Studies—The Person of Interest Edition|87
3|Televisual Contexts|90
3|Conclusion|95
3|References|96
1|Part II: Negotiating Gender Expectations and Sexual Mores through Popular Culture|100
2|5: A Televised Social Problem Construction? Pushing Back Against the Invisibility of the Male Rape Victim in American Crime|101
3|From Reality to Representation and Back: The Rise of ‘Socially Aware’ Television|101
3|A Televised Social Problems Construction?|103
3|A Symbolic Annihilation of Male Rape Victims?|105
3|Methodology|107
3|Analysis|109
4|Victim Blaming and ‘Female Rape’ Domain Expansion|109
4|Cycle of Violence|114
4|Institutional Failure and Vigilante Justice|116
3|Discussion|120
3|Concluding Remarks|124
3|References|125
2|6: The ‘Cool Girl’ Strikes Back? A Socio-Legal Analysis of Gone Girl|130
3|Introduction|130
3|The Backlash Phenomenon|132
3|Gone Girl as a Backlash Project|138
3|Gone Girl as a Feminist Project|143
3|Conclusion|149
3|References|150
2|7: Neoliberal Enticements, Neoliberal Dangers: An Ethnographic Content Analysis of Everyday Sexuality in Fresh Meat, Greek, and Sweet Vicious|155
3|Introduction|155
3|Neoliberalism and Everyday Sexuality: Enticements, Dangers, and Pop Culture|161
3|Methods|163
3|Results: Sexual Markets and Agency|166
4|University as a Sexual Market|166
5|The Sexual Market as a Sexual Field|166
5|The Sexual Market and Avoiding Social Bulimia|168
4|Sexual Agency|171
3|Discussion|175
3|Conclusion|177
3|References|177
4|Episodes|181
1|Part III: True Crime and the Quest for Justice|183
2|8: Wrongful Conviction, Pop Culture, and Achieving Justice in the Digital Age|184
3|Introduction|184
3|Wrongful Convictions and Media|186
4|Serial|189
4|Making a Murderer|191
3|Fan-Production, Websleuthing, and Wrongful Conviction|193
3|Wrongful Convictions, Media, and the Digital Age: Is Justice Being Achieved?|199
3|Conclusion|202
3|References|205
2|9: Aftermath: The True Crime Memoir Comes of Age|209
3|Introduction|209
3|Jo Ann Beard’s ‘The Fourth State of Matter’|214
3|Maggie Nelson’s The Red Parts|216
3|Terri Jentz’s Strange Piece of Paradise|222
3|Sarah Perry’s After the Eclipse|227
3|Conclusions|233
3|References|234
1|Part IV: Mainstreaming Deviant Subcultures|236
2|10: Popular Culture, Populism and the Figure of the ‘Criminal’ On the Rising Popular Support of Outlaw Bikers and Anti-Establishment Resentment|237
3|In-Between Fiction and Reality|237
3|The Idea of Media as the ‘Centre’ of the Social World Versus Anti-Establishment Narratives|244
3|New Year’s Greeting from a ‘Criminal Boss’ to Germany|249
3|Conclusion|255
3|References|258
2|11: Instagraff—The Influence of Web 2.0, Social Media, and User-Created Content Upon Graffiti Culture Performed in Cyber/Space|263
3|Introduction|263
3|Digital Graffiti?|265
3|Instagraff|267
3|Deviance|269
3|Graffiti Subculture|271
3|Consumption|272
3|Simulation and Simulacra|274
3|Subcultural Capital|276
3|Young People, Social Networks and Vernacular Creativity|279
3|Conclusion|284
3|References|286
1|Part V: Racialisation, Islamophobia and Popular Culture|291
2|12: Portrayals of Middle Eastern Background Communities as Criminal in Australian Popular Media|292
3|Introduction|292
4|A Note on Terminology|293
3|‘Antipodean Orientalism’|294
3|The Case Studies|298
4|Analysing Representations of Crime in Popular Culture|298
4|The Combination (2009)|299
4|Underbelly: The Golden Mile (2010)|304
4|Down Under (2016)|308
3|Comparing the Texts|312
3|Conclusion|314
3|References|314
2|13: Modern Sports as a Deviant Practice? How Not to Play Sports According to the Islamic Online Fatâwâ|318
3|Introduction|318
3|Methodological Notes|320
3|Islam and Its Doxa|321
3|Sinning Like Beckham|323
3|Combat Sports and Meditative Practices|326
3|Discussion and Conclusions|329
3|References|335
2|14: Conclusion: Popular Criminology Revisited|338
3|References|340
1|Index|342
1|Contents|7
1|Notes on Contributors|10
1|List of Figures|14
1|List of Tables|15
1|1: Introduction: Crime and Deviance through the Lens of Popular Culture|16
2|References|23
1|Part I: The Twenty-First-Century Fictional Detective|25
2|2: Deviant Detectives in the Scandinavian Welfare State: The Girl with the Dragon Tattoo and The Bridge|26
3|Introduction|26
3|The Rise of the Deviant Detective in the Post-Welfare State|28
3|Nordic Narratives of Proximity|31
3|Diagnosing The Girl with the Dragon Tattoo|35
4|The Crime Novel and the Autism ‘Epidemic’|38
3|Diagnosing Saga Norén|41
3|Conclusion|48
3|References|50
2|3: The Representation of Crime and Criminals in the TV Series Sherlock and Elementary: A Corpus Study|53
3|Introduction|53
3|Sherlock Holmes: A Diachronic Cultural Hero|55
3|Data and Methodology|56
3|Keywords in Sherlock and Elementary|59
3|The Field of Crime in Sherlock and Elementary|61
3|Criminals and Victims|66
4|The Criminal and Criminal Types|67
4|Criminal Groups|74
3|Discussion|75
3|Conclusion|78
3|Appendix|79
3|References|80
2|4: Person of Interest or Crime and Surveillance on Post-9/11 Network TV|84
3|Person of Interest: the Ambiguities of Crime and Surveillance|84
3|AI-ing Surveillance Studies—The Person of Interest Edition|87
3|Televisual Contexts|90
3|Conclusion|95
3|References|96
1|Part II: Negotiating Gender Expectations and Sexual Mores through Popular Culture|100
2|5: A Televised Social Problem Construction? Pushing Back Against the Invisibility of the Male Rape Victim in American Crime|101
3|From Reality to Representation and Back: The Rise of ‘Socially Aware’ Television|101
3|A Televised Social Problems Construction?|103
3|A Symbolic Annihilation of Male Rape Victims?|105
3|Methodology|107
3|Analysis|109
4|Victim Blaming and ‘Female Rape’ Domain Expansion|109
4|Cycle of Violence|114
4|Institutional Failure and Vigilante Justice|116
3|Discussion|120
3|Concluding Remarks|124
3|References|125
2|6: The ‘Cool Girl’ Strikes Back? A Socio-Legal Analysis of Gone Girl|130
3|Introduction|130
3|The Backlash Phenomenon|132
3|Gone Girl as a Backlash Project|138
3|Gone Girl as a Feminist Project|143
3|Conclusion|149
3|References|150
2|7: Neoliberal Enticements, Neoliberal Dangers: An Ethnographic Content Analysis of Everyday Sexuality in Fresh Meat, Greek, and Sweet Vicious|155
3|Introduction|155
3|Neoliberalism and Everyday Sexuality: Enticements, Dangers, and Pop Culture|161
3|Methods|163
3|Results: Sexual Markets and Agency|166
4|University as a Sexual Market|166
5|The Sexual Market as a Sexual Field|166
5|The Sexual Market and Avoiding Social Bulimia|168
4|Sexual Agency|171
3|Discussion|175
3|Conclusion|177
3|References|177
4|Episodes|181
1|Part III: True Crime and the Quest for Justice|183
2|8: Wrongful Conviction, Pop Culture, and Achieving Justice in the Digital Age|184
3|Introduction|184
3|Wrongful Convictions and Media|186
4|Serial|189
4|Making a Murderer|191
3|Fan-Production, Websleuthing, and Wrongful Conviction|193
3|Wrongful Convictions, Media, and the Digital Age: Is Justice Being Achieved?|199
3|Conclusion|202
3|References|205
2|9: Aftermath: The True Crime Memoir Comes of Age|209
3|Introduction|209
3|Jo Ann Beard’s ‘The Fourth State of Matter’|214
3|Maggie Nelson’s The Red Parts|216
3|Terri Jentz’s Strange Piece of Paradise|222
3|Sarah Perry’s After the Eclipse|227
3|Conclusions|233
3|References|234
1|Part IV: Mainstreaming Deviant Subcultures|236
2|10: Popular Culture, Populism and the Figure of the ‘Criminal’ On the Rising Popular Support of Outlaw Bikers and Anti-Establishment Resentment|237
3|In-Between Fiction and Reality|237
3|The Idea of Media as the ‘Centre’ of the Social World Versus Anti-Establishment Narratives|244
3|New Year’s Greeting from a ‘Criminal Boss’ to Germany|249
3|Conclusion|255
3|References|258
2|11: Instagraff—The Influence of Web 2.0, Social Media, and User-Created Content Upon Graffiti Culture Performed in Cyber/Space|263
3|Introduction|263
3|Digital Graffiti?|265
3|Instagraff|267
3|Deviance|269
3|Graffiti Subculture|271
3|Consumption|272
3|Simulation and Simulacra|274
3|Subcultural Capital|276
3|Young People, Social Networks and Vernacular Creativity|279
3|Conclusion|284
3|References|286
1|Part V: Racialisation, Islamophobia and Popular Culture|291
2|12: Portrayals of Middle Eastern Background Communities as Criminal in Australian Popular Media|292
3|Introduction|292
4|A Note on Terminology|293
3|‘Antipodean Orientalism’|294
3|The Case Studies|298
4|Analysing Representations of Crime in Popular Culture|298
4|The Combination (2009)|299
4|Underbelly: The Golden Mile (2010)|304
4|Down Under (2016)|308
3|Comparing the Texts|312
3|Conclusion|314
3|References|314
2|13: Modern Sports as a Deviant Practice? How Not to Play Sports According to the Islamic Online Fatâwâ|318
3|Introduction|318
3|Methodological Notes|320
3|Islam and Its Doxa|321
3|Sinning Like Beckham|323
3|Combat Sports and Meditative Practices|326
3|Discussion and Conclusions|329
3|References|335
2|14: Conclusion: Popular Criminology Revisited|338
3|References|340
1|Index|342