Moving Images Through an Assemblage: Police, Visual Information, and Resistance

Wilkinson, Blair; Lippert, Randy K.

doi:10.1007/s10612-011-9141-0

Cited by 11 publications

(14 citation statements)

References 14 publications

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“…"Surveillant assemblage" was operationalized as the extension of surveillance practices and capacities due to the issuance of a peace bond. Referring back to Haggerty and Ericson (2000), surveillance capacities are not limited to technological surveillance but also include human contact or "human labor" for the purposes of establishing an informal surveillance network (see Wilkinson and Lippert, 2011). Overall, this analysis examined the discourse of Canada's peace bond regime to determine whether and how it fits with 2007).…”

Section: Data Sources and Methodsmentioning

confidence: 99%

“…Ultimately, the creation and extension of surveillance infrastructures creates a "surveillant assemblage" that operates by abstracting human bodies from their territorial setting and separates them into a series of discrete flows that are reassembled into distinct "data doubles" that can be scrutinized and targeted for intervention (Haggerty and Ericson, 2000: 2). Although the notion of "data doubles" implies that all components of the assemblage must be digital or technological in nature, Haggerty and Ericson explicitly suggest that this may not always be the case-"In situations where it is not yet practical to technologically link surveillance systems, human contact can serve to align and coalesce discrete systems" (2000: 610-11; see also Wilkinson and Lippert, 2011). Examples of this can be seen in "multi-agency" policing where the police align themselves with, for example, social workers to scrutinize "at risk" individuals (Ericson and Haggerty, 1999: 256-91).…”

Section: Chapter Two Theoretical Approach: Ericson's Counter-law Analmentioning

confidence: 99%

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Where injury or damage is feared: Peace bonds as counter-law?

Chase¹

2014

Studies in Law, Politics, and Society

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DECLARATION OF ORIGINALITY I hereby certify that I am the sole author of this thesis and that no part of this thesis has been published or submitted for publication. I certify that, to the best of my knowledge, my thesis does not infringe upon anyone's copyright nor violate any proprietary rights and that any ideas, techniques, quotations, or any other material from the work of other people included in my thesis, published or otherwise, are fully acknowledged in accordance with the standard referencing practices. Furthermore, to the extent that I have included copyrighted material that surpasses the bounds of fair dealing within the meaning of the Canada Copyright Act, I certify that I have obtained a written permission from the copyright owner(s) to include such material(s) in my thesis and have included copies of such copyright clearances to my appendix. I declare that this is a true copy of my thesis, including any final revisions, as approved by my thesis committee and the Graduate Studies office, and that this thesis has not been submitted for a higher degree to any other University or Institution.

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Section: Data Sources and Methodsmentioning

confidence: 99%

Section: Chapter Two Theoretical Approach: Ericson's Counter-law Analmentioning

confidence: 99%

Where injury or damage is feared: Peace bonds as counter-law?

Chase¹

2014

Studies in Law, Politics, and Society

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“…These discourses express and structure how we understand and act upon an increasingly watched world and the technologies comprising it. Recent work has begun to situate video surveillance in relation to surveillant assemblages (Lippert, 2009;Lippert & Wilkinson, 2010;Wilkinson & Lippert, 2012). One way of conceiving of normalization is as a decidedly overlooked element of these assemblages.…”

Section: Surveillance Assemblage Normalization and Expressionmentioning

confidence: 99%

“…Viewers learn the system had not malfunctioned; it merely had been purposely hacked. Typically, in the films the cause of concern is ultimately shown to be illegal or illicit activity, rather than the numerous technological malfunctions or limitations inherent to video surveillance, including image transfer (see Wilkinson & Lippert, 2012).…”

Section: Video Surveillance Need Not Raise Privacy Concerns or Be Resmentioning

confidence: 99%

Attaching Hollywood to a Surveillant Assemblage: Normalizing Discourses of Video Surveillance

Lippert

Scalia

2015

MaC

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This article examines video surveillance images in Hollywood film. It moves beyond previous accounts of video surveillance in relation to film by theoretically situating the use of these surveillance images in a broader "surveillant assemblage". To this end, scenes from a sample of thirty-five (35) films of several genres are examined to discern dominant discourses and how they lend themselves to normalization of video surveillance. Four discourses are discovered and elaborated by providing examples from Hollywood films. While the films provide video surveillance with a positive associative association it is not without nuance and limitations. Thus, it is found that some forms of resistance to video surveillance are shown while its deterrent effect is not. It is ultimately argued that Hollywood film is becoming attached to a video surveillant assemblage discursively through these normalizing discourses as well as structurally to the extent actual video surveillance technology to produce the images is used.

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“…According to Haggerty and Ericson, the surveillant assemblage is a mechanism of disembodiment that separates physical bodies from the data that they generate and reassembles that information as virtual 'data doubles ' (p. 605). It should be noted that in policing contexts these data doubles are often used to criminalize individuals and to predict and intervene in future behaviour (Wilkinson & Lippert 2012;Finn 2009). This conglomeration of surveillance systems results in an intertwined and interconnected assemblage tasked with constantly sharing and sorting information.…”

Section: Haggerty and Ericson Extend Deleuze's Assemblage In Their Womentioning

confidence: 99%

Becoming the Camera: Body Worn Video and Shifting Expectations of Police Work

Chapman¹

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Traditionally positioned at the top of the hierarchy of visibility, police are being incorporated into the surveillant assemblage as a result of the proliferation of citizen cameras and viral footage of misconduct. As they struggle with their new visibility, many departments have turned to body worn video (BWV) as a solution. These devices record from a first-person perspective, giving police the opportunity to present their point-of-view.

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Moving Images Through an Assemblage: Police, Visual Information, and Resistance

Cited by 11 publications

References 14 publications

Where injury or damage is feared: Peace bonds as counter-law?

Where injury or damage is feared: Peace bonds as counter-law?

Attaching Hollywood to a Surveillant Assemblage: Normalizing Discourses of Video Surveillance

Becoming the Camera: Body Worn Video and Shifting Expectations of Police Work

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