From fine art to popular digital culture, criminologists are increasingly engaged in the processes of the visual.
In this pioneering work, Bill McClanahan provides a concise and lively overview of the origins and contemporary role of visual criminology. Detailing and employing the most prominent approaches at work in visual criminology, this book explores the visual perspective in relation to prisons, police, the environment, and drugs, while noting the complex social and ethical implications embedded in visual research.
This original book broadens the horizons of criminological engagement and reveals how visual criminology offers new and critical ways to understand and theorize crime and harm.
In a neoliberal academia dominated by masculine ideals of measurement and performance, it is becoming more important than ever to develop alternative ways of researching and writing.
This powerful new book gives voice to non-conforming narratives, suggesting innovative, messy and nuanced ways of organizing the reading and writing of scholarship in management and organization studies. In doing so it spotlights how different methods and approaches can represent voices of inequality and reveal previously silenced topics.
Informed by feminist and critical perspectives, this will be an invaluable resource for current and future scholars in management and organization studies and other social sciences.
criminology, in light of these developments, might find itself tasked with grappling with the implications of a technological shift that renders the evidentiary power of the image moot, or at least calls it into serious question. Among the most essential tasks for visual criminology, clearly, is to be mindful of the ways in which ocularcentrism and the privileging of sight over the other senses and non-sensory knowledge might reproduce or empower the harmful dimensions of a hierarchy of sensorial knowledge. Visual criminology (and other critical criminologies), much to
experience of audiovisual depiction’ ( 2017 : 358–9). The strengths of documentary criminology do not, though, stop at its significant ability to intervene in and enliven text; as Redmon (2017: 360) argues, the thoughtful production of documentary images in the criminological research ‘generates meaning and crafts sensorial knowledge that exceeds … representational ethnography’. Documentary criminology, as described by Redmon ( 2015 , 2017 , 2018 ) and Hayward ( 2017 ), is methodologically compelling in that it is not static, and instead seeks out, experiences
the body. Embodiment can be investigated both conceptually and in practice as it is at the same time protective and fragile, flexible, coloured, porous and sensorial. Bodies are relational in conception, loci of instinctual and sensorial knowledge. Bodies are gendered, racialized, interpreted, contested and discriminated against. Real bodies in organizations are set against a backdrop of the ideal worker, and the ideal academic, which is still white, male, able and cisgender (see Acker, 1990 ; Carrim and Nkomo, 2016 ; McCluney and Rabelo, 2019a , 2019b ; O
to materiality and corporeality – is in line with the belief underpinning this book, which espouses an embodied and affective approach to how we experience and write about organizations. Indeed, aesthetic ways of knowing bring together sensible and sensorial knowledge with passionate knowing ( Gherardi, Nicolini and Strati, 2007 , 316) and organizational practice ( Strati, 2007b ) as ‘individuals and groups act in organizations by heeding their feelings, desires, tastes, talents, and passions’ ( Strati, 2010 , 880). Aesthetic experience then can be considered an
