Dynamically written and richly illustrated, the Routledge International Handbook of Visual Criminology offers the first foundational primer on visual criminology. Spanning a variety of media and visual modes, this volume assembles established researchers whose work is essential to understanding the role of the visual in criminology and emergent thinkers whose work is taking visual criminology in new directions. This book is divided into five parts that each highlight a key aspect of visual criminology, exploring the diversity of methods, techniques and theoretical approaches currently shaping the field: • Part I introduces formative positions in the developments of visual criminology and explores the different disciplines that have contributed to analysing images. • Part II explores visual representations of crime across film, graphic art, documentary, police photography, press coverage and graffiti and urban aesthetics. • Part III discusses the relationship of visual criminology to criminal justice institutions like policing, punishment and law. • Part IV focuses on the distinctive ethical problems posed by the image, reflecting on the historical development, theoretical disputes and methodological issues involved. • Part V identifies new frameworks and emergent perspectives and reflects upon the distinctive challenges and limits that can be seen in this emerging field. This book includes a vibrant colour plate section and over a hundred black and white images, breaking down the barriers between original photography and artwork, historic paintings and illustrations and modern comics and films. This interdisciplinary book will be of interest to criminologists, sociologists, visual ethnographers, art historians and those engaged with media studies.

Table of Contents:
Introducing Visual Criminology, Michelle Brown and Eamonn Carrabine Part I: Foundations – History, Theory Methods Law, evidence and representation, Katherine Biber Social science and visual culture, Eamonn Carrabine "We never, never talked about photography": Documentary photography, visual criminology, and method, Jeff Ferrell Crime films and visual criminology, Nicole Rafter Key methods of visual criminology: An overview of different approaches and their affordances, Luc Pauwels Visions of legitimacy: Public criminology, the image and the legitimation of the carceral state, Jonathan Simon Carceral geography and the spatialization of carceral studies, Dominique Moran Art and its unruly histories: Old and new formations, Eamonn Carrabine Part II: Images and Crime Making the criminal visible: photography and criminality, Jonathan Finn Documentary criminology: A cultural criminological introduction, Keith Hayward Going feral: Kamp Katrina as a case study of documentary criminology, David Redmon Mediated suffering, Sandra Walklate Media, popular culture and the lone wolf terrorist: The evolution of targeting, tactics and violent ideologies, Mark Hamm and Ramón Spaaij Representing the pedophile, Steven Kohm Street art, graffiti and urban aesthetics, Alison Young Risky business: Visual representations in corporate crime films, Gray Cavender and Nancy Jurik Crimesploitation, Paul Kaplan and Daniel LaChance Part III: Images and Criminal Justice In plain view: Violence and the police image. Travis Linneman The role of the visual in the restoration of social order, Tony Kearon Opening a window on probation cultures: A photographic imagination, Anne Worrall, Nicola Carr and Gwen Robinson How does the photograph punish?, Phil Carney The visual retreat of the prison: Non-places for Non-people, Yvonne Jewkes, Eleanor Slee and Dominique Moran Pervasive punishment: Experiencing supervision, Wendy Fitzgibbon, Christine Graebsch and Fergus McNeill Graphic justice and criminological aesthetics: Visual criminology on the streets of Gotham, Thomas Giddens Part IV: Accusing Images and Images Accused Staged imagery of killing and torture: Ethical and normative dimensions of seeing, Lieve Gies Jus Des(s)erts? Crime and Punishment in the Italian Last Judgement, Lisa Wade Visualizing blackness – racializing gameness: Social inequalities in virtual gaming communities, Jordan Mazurek and Kishonna Gray Visual power and sovereignty: Indigenous art and colonialism, Chris Cuneen Asylum seekers and moving images: Walking, sensorial encounters and visual criminology, Maggie O’Neill Visual criminology and cultural memory: The aestheticization of boat people, Jacqueline Wilson Seeing and seeing-as: Building a politics of visibility in criminology, Sarah Armstrong The concerned criminologist: Refocusing the ethos of socially committed photographic research, Cécile Van de Voorde Los Angeles, urban history and neo-noir cinema, Gareth Millington Against a "humanizing" prison cinema: The Prison in Twelve Landscapes and the politics of abolition imagery, Brett Story Part V: Future Directions Fascinated receptivity and the visual unconscious of crime, Stephen Pfohl The criminologist as visual scholar in a global mediascape, Michelle Brown Sunk capital, sinking prisons, stinking landfills: Landscape, ideology, visuality and the carceral state in central Appalachia, Judah Schept Territorial coding in street art and censure: Ernest Pignon-Ernest’s contribution to visual criminology, Ronnie Lippens Representations of environmental crime and harm: A green-cultural criminological perspective on Human-Altered Landscapes, Avi Brisman There’s no place like home: Encountering crime and criminality in representations of the domestic, Michael Fiddler Monstrous nature: A meeting of gothic, green and cultural criminologies, Nigel South