This volume contains contributions on the theme of popular culture, crime, and social control. The chapters in this volume tease out various criminologically relevant issues, pertaining to crime/deviance and/or the control thereof, on the basis of an analysis of various aspects and manifestations of popular culture, including music, movies, television, paintings, sculptures, photographs, cartoons, and the internet-based audio-visual materials that are presently available. Thematically diverse within the province of criminology, the chapters in this book are not restricted in terms of theoretical approach and methodological orientation. Using a variety of methodological and theoretical perspectives, the volume is diverse in addressing dimensions of popular culture in relation to important criminological questions.
Introduction: the criminology of popular culture / Mathieu Deflem -- Reefer Madness and beyond / Susan Boyd -- The Dark Knight: constructing images of good vs. evil in an age of anxiety / Nickie D. Phillips -- Superhero justice: the depiction of crime and justice in modern-age comic books and graphic novels / Bradford W. Reyns and Billy Henson -- Televised images of jail: lessons in controlling the unruly / Dawn K. Cecil -- "I broke the law? No, the law broke me!" Palestinian hip-hop and the semiotics of occupation / Judah Schept -- Rap music's violent and misogynistic effects: fact or fiction? / Charis E. Kubrin and Ronald Weitzer -- Crime resistance and song: black musicianship is black criminology / Viviane Saleh-Hanna -- The different sounds of American protest: from freedom songs to punk rock / Ellen C. Leichtman -- Evil monsters and cunning perverts: representing and regulating the dangerous paedophile / Anneke Meyer -- Framing the scene: presentations of forensics programming in the news / Gregory G. Justis and Steven Chermak -- Beach crime in popular culture: confining the carnivalesque in Salvador da Bahia, Brazil / Stephanie C. Kane -- Here be dragons: Lombroso, the gothic, and social control / Nicole Rafter and Per Ystehede.
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