By Yvonne Jewkes
ISBN-10: 0761947647
ISBN-13: 9780761947646
ISBN-10: 1412932548
ISBN-13: 9781412932547
This e-book issues a severe highlight on media structures of crime and social keep watch over, constructing our realizing of the connection among media and crime, and taking current wisdom in new instructions. Media and Crime is an available textual content with a robust pedagogic objective, making it a terrific advent to the examine of crime and the mass media for undergraduate and graduate scholars. the writer interrogates crucial literature within the box in addition to relocating the debates ahead with new rules and values.
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Additional info for Media and Crime (Key Approaches to Criminology)
Example text
Some commentators have found this a refreshing antidote to Marxist-inspired studies such as Policing the Crisis, in so far as cultural criminology avoids the ‘condescension of criminal-asvictim (of disadvantageous circumstances)’ ( Jefferson, 2002). One of the most compelling examples from Britain of the carnival of crime is that of joyriding. Describing the large-scale ritualized joyriding that occurred on the Blackbird Leys estate in Oxford in the early 1990s, Mike Presdee comments: [T]heir joyriding became a celebration of a particular form of car culture that was carnivalesque in nature, performance centred and criminal.
This shared ethos enables those who work in news organizations to systematically sort, grade and select potential news stories, and discard those which are of no perceived interest or relevance to the audience. The first people to attempt to systematically identify and categorize the news values that commonly determine and structure reported events were Galtung and Ruge (1965/1973).
Although this inclination extends beyond the media and arguably constitutes a ‘collective ignorance’ towards corporate crime on the part of all social institutions (Box, 1983: 31), there is little doubt that the media are among the most guilty in perpetuating very narrow definitions of crime. In fact, the media might be said to be doubly culpable: first for portraying affluence as the ultimate (anomic) goal and glamorizing images of offending and, second, for pandering to public tastes for drama and immediacy over complexity.