By Nicole Rafter, Michelle Brown
From a glance at classics like Psycho and Double Indemnity to contemporary motion pictures like site visitors and Thelma & Louise, Nicole Rafter and Michelle Brown express that criminological idea is produced not just within the academy, via scholarly learn, but in addition in pop culture, via film. Criminology is going to the Movies connects with ways that scholars are already pondering criminologically via engagements with pop culture, encouraging them to exploit the standard international as a car for theorizing and realizing either crime and perceptions of illegal activity. the 1st paintings to convey a scientific and complex criminological point of view to undergo on crime movies, Rafter and Brown’s publication presents a clean manner of taking a look at cinema, utilizing the recommendations and analytical instruments of criminology to discover formerly overlooked meanings in movie, eventually making the examine of criminological thought extra attractive and potent for college students whereas concurrently demonstrating how theories of crime stream in our mass-mediated worlds. the result's an illuminating new means of seeing video clips and a pleasant approach of studying approximately criminology.
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Extra info for Criminology Goes to the Movies: Crime Theory and Popular Culture
Insurance salesman. Thirty-five years old, unmarried, no visible scars . . ’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.
Finding himself alone in the tower, the Monster escapes to roam the countryside. First he encounters an enchanting little girl playing in the sun beside an Alpine lake. Maria invites the Monster to join her; delighted, he watches her toss daisies into the water and then joins in. But when he runs out of daisies, he tosses Maria into the lake, where she drowns. Murder number 3. Uncomprehending but appalled by the disappearance of his little playmate, the hapless Monster lumbers on. At the Baron’s house, through an open window, he glimpses a spectacular sight: Elizabeth, in full bridal regalia, including an immense train of white gauze.
However, Lombroso focused so dramatically on innate criminality that few readers paid attention to the sociological aspects of his work. Frankenstein, on the other hand, manages to illustrate biological and sociological explanations at the same time. Its Monster perfectly realizes the idea of the born criminal: he is hideous, his instincts are primitive, and he is clearly a born killer, since he does little else than murder. However (and this is why the contrast with Fritz is so important), the film’s Monster is also born innocent and driven to crime through abuse, parental neglect, and the scientific mistake that gave him a criminal brain.
Criminology Goes to the Movies: Crime Theory and Popular Culture by Nicole Rafter, Michelle Brown