Musical life stories coherence through musicking in the prison setting

Despite the strong relationships evidenced between music and identity little research exists into the significance of music in prisoners’ shifting sense of identity. This article explores musicking as part of the ongoing identity work of prisoners in light of theory on musical performance, narrative and desistance and discusses implications for penal practice and research. Through the presentation of an ethnographic study of music therapy in a low security Norwegian prison we show how participation in music activities afforded congruence between the past, the present and the projected future for participants by way of their unfolding musical life stories. Complementing existing conceptualisations of music as an agent for change, our study suggests that musicking afforded the maintenance of a coherent sense of self for participating prison inmates, whilst offering opportunities for noncoercive personal development. We argue that research into musicking in prison offers fruitful ways of tracing how the complexities inherent in processes of change are enacted in everyday prison life, and that it can advance our knowledge of relationships between culture, penal practice and desistance.

Taking responsibility: Testimonial practices in Rithy Panh’s S21: The Khmer Rouge Killing Machine

Genocide films have long contributed to public criminology’s exploration into ethics, responsibility and witnessing after atrocity. Whereas post-Holocaust theorisations of testimony have focused on victim testimony (and its limits), a recent wave of documentary films are instead centering on the perpetrators of atrocity. These are raising the question of how to engage with that shared by a person who experienced an atrocity not as its victim but as its perpetrator. This article examines this question through a close reading of Rithy Panh’s documentary film S21: The Khmer Rouge Killing machine (2003), a film that ‘compare[s] eye-witness accounts’ of a handful of men who all experienced notorious Khmer Rouge security centre S-21 either as its prisoners or its staff. I suggest that the confrontations and the bodily gestures by the former staff in S21 constitute forms of testimony, something which has implications for the understanding of both testimony and responsibility, as well as for the positionality of the spectator. The film, I suggest, provides a way to listen to the experiences of the perpetrators of the atrocity, without diminishing the suffering they caused.

The cultural scope and criminological potential of the “hardman story”

The true crime genre has become synonymous with the serial killer. As such, other narratives dealing with different types of violent criminal subjects have been overlooked in academic and media analyses. The following article explores a subgenre of true crime which has been overlooked—the life story of the violent criminal or “hardman biography.” However, in acknowledging the hardman, the discussion also reveals his presence across fact/fiction boundaries and a range of cultural terrain. Following a discussion of the cultural space this figure occupies, I turn my attention to hardman stories which exist predominantly in the local imaginary and focus on one such text which tells the story of a violent protagonist and cultures of crime and violence in the North of England in the late 1980s and early 1990s. In so doing, I focus on how this text animates cultures of violence and marginality left in the wake of deindustrialization and economic decline, combining this with relevant theoretical and ethnographic work. I conclude by arguing that the text is a further example of the way in which popular criminology can complement and advance academic criminological understandings of crime and violence.

Technology facilitated re-victimization: How video evidence of sexual violence contributes to mediated cycles of abuse

With the ubiquity of technological devices producing video and audio recordings, violent crimes are increasingly captured digitally and used as evidence in the criminal justice process. This paper presents the results of a qualitative study involving Canadian criminal justice professionals, and asks questions surrounding the treatment of video evidence and the rights of victims captured within such images. We argue that loss of control over personal images and narratives can re-traumatize survivors of sexual violence, creating technologically-facilitated cycles of abuse that are perpetuated each time images are viewed. We find that the justice system has little to no consistent policy or procedure for handling video evidence, or for ameliorating the impact of these digital records on survivors. Subsequently, we assert that the need for a victim-centred evidence-based understanding of mediated evidence has never been greater.

Making new meanings: The entextualisation of digital communications evidence in English sexual offences trials

There have been growing concerns about the malleability of digital communications evidence and its potential to reinforce embedded rape myths and cultural narratives that undermine victim-survivors in sexual offences trials. There is however a paucity of research exploring this issue in practice, and none in England and Wales. This article therefore uses two case studies, drawn from court observation research in 2019, to explore how digital communications evidence is used in English sexual offences trials. In both case studies the prosecution argued that digital communications between defendant and victim-survivor constituted admissions of guilt; both defendants resisted this by providing alternative meanings to the well-known colloquial phrases within the messages. Through the process of entextualisation, defence counsel bolstered the meanings defendants attributed to digital communications by drawing upon rape myths and deeply embedded gendered narratives. Defence counsel further employed rape myths and gendered narratives to undermine prosecution entextualisations of the digital evidence. This analysis builds on the existing literature by demonstrating that the malleability of digital evidence extends even to seemingly unambiguous communications.

Violence, crime dystopia and the dialectics of (dis)order in The Purge films

Crime dystopia is the cultural site where some of the most gripping fears around the failure to order, civilise and make life secure are expressed. In The Purge film franchise, crime becomes legal in America for a night each year, when violence and destructive impulses are freely discharged and actively encouraged by the US government. This article proposes a critical discussion of some of the criminological themes in the films, reading the institutionalised carnage of Purge night as a metaphor for the systemic violence of the market and further on for liberal governance as a philosophy of war, scarred by the horror of hidden monsters. It then argues that dystopian aesthetics can obscure the failures and antagonisms of the social order in the present, as well as punctuate anti-utopian fears of the future.

Do-it-yourself surveillance: The practices and effects of WhatsApp Neighbourhood Crime Prevention groups

WhatsApp Neighbourhood Crime Prevention (WNCP) groups are popular in the Netherlands. As a basic assumption, this kind of digital neighbourhood watch could prevent crime, but what is the evidence? Drawing on a mixture of qualitative research and a review of additional publications, we conclude that WNCP groups stimulate social cohesion rather than prevent crime. We reach our conclusion by applying the evaluation EMMIE framework – an acronym for Effect, Mechanisms, Moderators, Implementation and Economics – to the available data. A point for further discussion is the limited scope of the economic dimension. Moral costs must be calculated, too, as WNCP groups tend to deepen divisions between groups of citizens and fuel exclusionary practices in the name of community safety.

NFTs: Digital things and their criminal lives

The extraordinary current craze around NFTs reflects their perceived value as a technological development that can bring greater certainty to questions of ownership and authenticity in fields like art and other collectibles. This is, among other things, the promise of crime prevention through technology, as ownership and authenticity are in the art world closely tied to criminal legal matters like theft, handling stolen goods and fraud. The crime prevention promise looks to fall flat though, as the technology seems to be less capable of delivering these benefits than has been assumed by its promoters. Much of the attraction of NFTs is therefore not actually based on effective crime prevention, but rather on hype. This paper explores the hype, and its relationship to the crime prevention promise of NFTs, through the lens of ‘the social lives of things’. We argue that as well as social lives, things have criminal lives. Analysis sensitive to the criminal lives of things finds an NFT trading scene heated by emotion: excitement, attraction, temptation, speculative euphoria and acquisitive, possessive sentiment. This creates a sense of object agency more active than the cold traditional vision of material structure presented in standard criminological treatments of things-in-the-world as passive opportunity structures. The hyped NFT market trades in affecting objects that create crime in emotional as well as structural ways. We therefore arrive at a conclusion opposite to starting assumptions: far from preventing crime, NFTs are making it.