Crime, History, and Hollywood: Learning Criminal Justice History through Major Motion Pictures

Oliver, Willard M.

doi:10.1080/10511253.2010.519892

Cited by 8 publications

(4 citation statements)

References 29 publications

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“…Cinemeducation refers to the use of movie clips or whole movies as a pedagogical tool to educate viewers. Films can supplement concepts and ideas to enhance learning in wide range of disciplines from criminal justice (Oliver, 2011) to medicine (Walker, 2014).…”

Section: Watching Filmsmentioning

confidence: 99%

End-of-Life in Disney and Pixar Films: An opportunity for Engaging in Difficult Conversation

Tenzek

Nickels

2017

Omega (Westport)

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This study expanded upon previous scholarship by examining end-of-life (EOL) depictions and messages of death within Disney and Pixar animated films. We argue Disney and Pixar depictions of EOL and death can provide critical opportunities for discussing death and dying processes with children and adults alike. A content analysis of 57 movies resulted in a total of 71 character deaths. These instances of death became the discourse used for analysis. The EOL discourse was coded based on five categories (character status, depiction of death, death status, emotional reaction, and causality). After quantitative analysis, the films were qualitatively analyzed. Four themes emerged from analysis, unrealistic moments, managing EOL, intentions to kill, and transformation and spiritual connection. Discussion of results, limitations, and directions for future research are included.

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Section: Watching Filmsmentioning

confidence: 99%

End-of-Life in Disney and Pixar Films: An opportunity for Engaging in Difficult Conversation

Tenzek

Nickels

2017

Omega (Westport)

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“…The transformative nature of the Freedom Summer news event played a role in their learning. Historians have long found that using films of historic events enhances learning (Oliver, 2011). In this workshop, covering a real news event provided the students with “shared experiences” (Hart, 2001, p. 33) that they could use to create news through multiple formats.…”

Section: Literature Reviewmentioning

confidence: 99%

Learning by Doing

Pain

Chen

Campbell

2016

Journalism & Mass Communication Educator

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In-depth qualitative interviews with participants of a high school journalism workshop reveal that immersing students in coverage of a historically important news event enhances learning of multimedia journalism. Study explores how using a team-based approach to coverage of the 50th anniversary of Freedom Summer, a key event in Mississippi's civil rights history, bolsters students' ability to learn to tell stories using text, photos, video, social media, radio, and blogs. Ramifications for multimedia education are proposed.

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“…On the other hand, criminology as a social science, and one that in some quarters sees itself increasingly as 'crime science' (Loader and Sparks, 2012), appears less comfortable with popular narratives, and remains especially suspicious of 'fictions'. This is not to deny that fictional crime has long been incorporated, often in a relatively narrow fashion, as a pedagogical tool for teaching criminological concepts and theory (e.g., Crawford, 1999;Kopak and Sefiha, 2015;Oliver, 2011;Rafter and Brown, 2011;Rockell, 2009; Rothe and Collins, 2013). But there is often a clear note of ambivalence and caution sounded about the use of such fictions.…”

mentioning

confidence: 99%

“…This is not to deny that fictional crime has long been incorporated, often in a relatively narrow fashion, as a pedagogical tool for teaching criminological concepts and theory (e.g. Crawford, 1999;Kopak and Sefiha, 2015;Oliver, 2011;Rafter and Brown, 2011;Rockell, 2009;Rothe and Collins, 2013). But there is often a clear note of ambivalence and caution sounded about the use of such fictions.…”

mentioning

confidence: 99%

Meaning-making and crime drama: the case of criminology students

Wimshurst

2018

Media International Australia

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Criminology as a discipline maintains an ambivalent attitude toward mass media. Following from Clifford and White's (2017) call for a more nuanced approach to media criminology, the first section of the article contextualises the present study by outlining the uneasy relationship between mainstream criminology and crime drama. The second section explores themes that arose during research that invited criminal justice students to create an outline for a television crime series that they would enjoy watching themselves. The experience of creating and talking about their crime fictions prompted the participants to reflect on aspects of their own lives in some detail, but relatively little on crime per se. Crime drama, including their own creations, provided the participants with an anchor to talk broadly about subjectivities and identities. The piece concludes with observations on the place of emotional engagement when consumers reflect on crime drama. 2 Meaning-making and crime drama: The case of criminology students Introduction: Criminologists and mass media The term 'popular criminology' was popularised by media criminologist Nicole Rafter (2007) to refer to the ways in which people develop their views about crime and justice. She noted that crime entertainment was central to these public understandings, and argued that: 'The two types of criminology, popular and academic, complement one another, each contributing in its own way to understandings of crime' (2007: 415). Thus, by strong implication, criminologists could not afford to treat mass media representations of crime as simply inferior entities. Interestingly, in view of Rafter's emphasis on complementarity, even the most empathetic surveys of media criminology suggest that, in the main, popular criminology and crime media in particular, continue to be seen by criminologists as marginal to the real business of scholarly criminology (Kohm, 2017; Wakeman, 2016). The cautious approach to scholarly analysis of fictional crime confirms Lam's (2014) observation that academic criminologists are more interested in 'corrective criticism' than in understanding the complexities of crime media production and consumption, or in understanding the ways crime drama is absorbed into the lives of audiences. Rather, corrective criticism tends 'to treat popular cultural representations as first and foremost inaccurate representations about crime or as questionable matters of fact' (p. 171). Media criminology, or the study of the ways in which crime media saturate and inform our lives and, in turn, the ways we interact with media, remains a relatively underdeveloped field of scholarship in Australia. Some topics are receiving increasing attention; for example, work here has tended to concentrate on the criminological implications of the uses and abuses of

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Crime, History, and Hollywood: Learning Criminal Justice History through Major Motion Pictures

Cited by 8 publications

References 29 publications

End-of-Life in Disney and Pixar Films: An opportunity for Engaging in Difficult Conversation

End-of-Life in Disney and Pixar Films: An opportunity for Engaging in Difficult Conversation

Learning by Doing

Meaning-making and crime drama: the case of criminology students

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