Shame has long been a dubious tool of criminal justice and has been carried on by state authorities in a variety of ways through the ages. However, since the latter part of the 20th century, humiliation has become amplified through the mass media in the name of crime control and entertainment. This article situates mass-mediated humiliation within broader trends in criminal justice and popular culture. While the enactment of humiliation via popular culture works powerfully within prevailing cultural beliefs about crime and criminality, there also exists a subversive possibility that threatens to disrupt the forces that attempt to invoke shame for purposes of profit or social control. The popular American tabloid news magazine, Dateline NBC: To Catch a Predator, is used as an example to highlight the ambiguous cultural place of shame.

Fear of crime has been the focus of considerable research in Canada and the United States over the past five decades. An enduring question for researchers is the impact of various forms of media on fear of crime. Specifically, do the salience of specific media types and the amount of exposure to specific news media – newspapers, television, radio, and Internet – affect fear of crime? Using survey data collected at three universities in the United States and one in Canada, this article comparatively examines the impact of media on fear of crime among university students. The results show distinct differences between Canadian and U.S. students, with Canadian students reporting significantly higher levels of fear, particularly of violent crime. The impact of media on fear was inconsistent between the two groups, but media tended to exert a broader range of influence on the American students' fear of crime.

This article presents findings from a two-year study of fear of crime and victimization in a high-crime, inner-city neighbourhood in Winnipeg, Manitoba. Face-to-face interviews were carried out in 2007 with a sample of 394 neighbourhood residents. Respondents provided qualitative, quantitative, and spatial data on levels of fear, patterns of victimization, and experience with neighbourhood disorder. Despite high levels of criminal victimization and worry about crime, neighbourhood residents cited concerns with disorder rather than crime as determinate of locations of highest fear in the community. Spatial and qualitative measures of fear in this neighbourhood suggest support for the link between disorder and fear of crime even in high-crime communities.

This essay examines the popular American daytime courtroom programs Judge Judy and People's Court and comparatively analyzes two distinct models of law and justice developed in these shows. Using the techniques of qualitative media analysis, I argue that Judge Judy represents a shift in the way popular culture imagines the role of law in the lives of ordinary people. This shift accords with neoliberal notions of governance and individual self-responsibility for protection against risk. Conversely, People's Court represents an older, liberal-legal model of law that emphasizes individual rights, public participation in the court process, and due process. By demonstrating the supersession of Judge Judy justice over that of People's Court, I argue that this shift in the way law is imagined in American popular culture signals wider shifts in American and indeed international attitudes toward the law in our everyday lives.

This article responds to Nicole Rafter’s recent call to develop a popular criminology using cultural representations of crime and criminal justice to supplement and extend mainstream criminological knowledge. Using representations of child sexual abuse in film, we begin to build a popular criminology of the pedophile. In cinema, this figure opens up a cultural space to interrogate key criminological dilemmas about the nature and shape of justice. Pedophile crime films work through concepts by making emotion central to understanding and by using child sexual abuse as a moral context for otherwise abstract dilemmas. Because of their form as well as their content, recent examples of the subgenre hold the potential to challenge popular conceptions of justice in ways that mainstream academic discourse cannot.