Critical Punishment Memorialization in Canada

Fiander, Sarah; Chen, Ashley; Piché, Justin; Walby, Kevin

doi:10.1007/s10612-015-9271-x

Cited by 30 publications

(19 citation statements)

References 26 publications

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“…While many representations of prisoners and punishment promote social distance between the criminalized and the ‘penal spectators’ that consume popular culture (Brown, 2009; see also Ferguson et al, 2015; Fiander et al, 2016; Walby and Piché, 2011), Making a Murderer bridged the divide in some instances. In fact, Reddit authors suggested that they felt compassion for Avery, Dassey, and/or their families in 58 instances.…”

Section: Resultsmentioning

confidence: 99%

‘Man I’m all torn up inside’: Analyzing audience responses toMaking a Murderer

Kennedy

2017

Crime, Media, Culture

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Despite the preoccupation with media depictions of crime and criminal justice, few studies have employed qualitative methodologies to investigate how audience members engage with, react to, and interpret media content. This analysis of Reddit forums dedicated to the 2015 Netflix documentary series Making a Murderer reveals the wide range of responses to the series and demonstrates the value of looking to user-generated content on social media platforms to understand how we think and feel about crime-related matters. I argue that Reddit users’ reactions to the series are consistent with existing research outlining the complexity of the public’s views regarding criminal justice policy and these responses are intelligible when we consider the broader socio-political context in which the series was released. Particularly important, in my view, are individuals’ affective responses – including empathy, confusion, heartbreak, anger, frustration, fear, and helplessness – and the ways these emotions are linked with beliefs about the efficacy of the criminal justice system and the purposes of punishment. Consequently, this article buttresses recent calls to consider the entire spectrum of human emotions and to investigate the ways these emotions are related to our multifaceted beliefs about crime and criminal justice.

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Section: Resultsmentioning

confidence: 99%

‘Man I’m all torn up inside’: Analyzing audience responses toMaking a Murderer

Kennedy

2017

Crime, Media, Culture

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“…Colvin (2015) changed focus from personal storytelling to fiction, and discussed how literature was used in prisons (see also Wilson 2014). Fiander et al (2015) explored the narratives of penal history museums, and Joosse et al (2015) studied stories that restrain harm in groups at risk of radicalization. Earlier this year, Canter, Youngs and colleagues (Ioannou et al 2016) also connected their project more explicitly with the narrative criminology literature, linking their largely quantitative and psychology-inspired work with the more sociologically and qualitatively inclined work published under the narrative criminology headline.…”

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confidence: 99%

The past, present, and future of narrative criminology: A review and an invitation

Sandberg¹,

Ugelvik²

2016

Crime, Media, Culture

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As J.W. Ironmonger's 2012 novel The Notable Brain of Maximilian Ponder opens, the protagonist Max is lying face up, dead, on his own front room dining table. On his 21 st birthday, Max decided to lock himself in his apartment, curtains drawn, to systematically map his entire brain's contents for his thesis work in philosophy at the University of Cambridge. The project was supposed to last three years. Three decades later, his fifty-one year old body is surrounded by his life's work: Shelves filled with 1600 books and folders, including 358 volumes of autobiographical monologue painstakingly recorded on note paper and bound in red leather (the so-called 'narrative volumes'). His 'Catalogue' also includes shelves after shelves of grey A4 lever-arch files (the 'day logs') recording experiences that strictly speaking should not have happened. When a leaky pipe, a blown light bulb or a heavy thunderstorm interrupted the project, Max had to record it for the sake of completion. This everyday "mess" should have been "controlled away" to leave Max's 21-year-old brain pure and pristine and untainted by ongoing events. Unfortunately, life had a habit of intruding on his ongoing storytelling project with new events, making the task never-ending. Max's life was spent trying to tell his own life's story without actually living it. Death has now made his catalogue complete. The story has ended. Or has it? What is the end of a story, and where does it begin? The sharing of stories is an important part of the human condition. People seem to have a fundamental drive to tell and listen to them. We use them to communicate and reproduce ingroup solidarity. They may provoke strong emotions. They may be simultaneously entertaining and educational; it is no coincidence that we tell children stories to help them understand and explore a chaotic world. One reason is that storytelling is a basic device for creating, providing and assigning meaning. Stories are good at making simple what is complicated. At the same time, some of the complexity is retained because stories by their very nature are ambiguous and openended. They are an important resource in everyday life and in times of celebration and difficulty; crucial for the way we live, and for the organisation of society. Even our very identity and sense of self is narratively constructed. We make sense of ourselves and our relationships with others by sharing stories and through our individual ongoing inner narrative. Stories are, simply put, at the core of what makes us who and what we are. Narrative criminology refers to the study of the role the telling and sharing of stories play in committing, upholding and effecting desistance from crime and other harmful acts. It is hard to say when the story of narrative criminology began. It is, perhaps, one of those stories that have several beginnings. One very early beginning can be traced back to ancient Athens. In Poetics, Aristotle (2013), the grandfather of all narrative analysis, laid out the founding principles of modern-day narratolo...

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“…However, these museums can foster solidarity in ways that challenge punishment when the role of penality is critically interrogated. Such cultural work emphasizes the plight of prisoners by incorporating their accounts in museum narratives (Fiander et al, 2015) or highlights the connections between political dissent and confinement as is done at Robben Island where Nelson Mandela was imprisoned (Golding, 2009; Strange and Kempa, 2003). These discursive strategies are part of how penal history museums ‘perform the carceral past in the present’ (Turner and Peters, 2015: 75).…”

Section: Memorialization Museums Tourism and The Carceral Statementioning

confidence: 99%

Reconsidering the boundaries of the shadow carceral state: An analysis of the symbiosis between punishment and its memorialization

Kleuskens

Piché

Walby

et al. 2016

Theoretical Criminology

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Beckett and Murakawa conceptualize the 'shadow carceral state' as institutions deriving their authority from administrative and civil law that dole out punishment in conjunction with the penal state. This concept enriches criminological inquiry by expanding the boundaries of what punishment work entails. Left unexplored are the contributions of memory institutions such as penitentiary, prison and jail museums intersecting with the penal state that bolster the latter's power to deprive liberty and inflict pain. Based on an analysis of three Canadian penal history museums, we illustrate how Correctional Service Canada mobilizes federal prison labour and other involuntary prisoner contributions,

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Critical Punishment Memorialization in Canada

Cited by 30 publications

References 26 publications

‘Man I’m all torn up inside’: Analyzing audience responses toMaking a Murderer

‘Man I’m all torn up inside’: Analyzing audience responses toMaking a Murderer

The past, present, and future of narrative criminology: A review and an invitation

Reconsidering the boundaries of the shadow carceral state: An analysis of the symbiosis between punishment and its memorialization

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