Abstract:In 1993, a new trend of memoirs began to emerge in the United States, exploring contemporary street gang life in the ghettos and barrios. The first memoirs in this cycle form the subject of this paper: Sanyika Shakur's Monster and Luis Rodriguez's Always Running. There have been polarised debates about such texts which have been variously demonised as violent and sensationalist or, by contrast, praised as offering a pedagogic and preventative anti-gang stance. Such contradictory responses are reflected in the … Show more
“…Media coverage often describes violent crime in communities of color as spurring from gang conflict, even when this may not be the case (Linnemann and McClanahan 2017; Sullivan 2005). Consequently, gang violence is typically cast as a blight endogenous to communities of color, reflective of innate, or cultural criminality (Metcalf 2012; Russell 1998; Surette [1990] 2010).…”
Section: Moral Panics and Mass Shootings Coveragementioning
Objectives: We examine how news media portrays the causes of mass shootings for shooters of different races. Specifically, we explore whether White men are disproportionately framed as mentally ill, and what narratives media tend to invoke when covering mass shootings through the lens of mental illness as opposed to other explanatory frames. Methods: The study examines a unique data set of 433 news documents covering 219 mass shootings between January 1, 2013, and December 31, 2015. It analyzes the data using a mixed methods approach, combining logistic regression with content analysis. Results: Quantitative findings show that Whites and Latinos are more likely to have their crime attributed to mental illness than Blacks. Qualitative findings show that rhetoric within these discussions frame White men as sympathetic characters, while Black and Latino men
“…Media coverage often describes violent crime in communities of color as spurring from gang conflict, even when this may not be the case (Linnemann and McClanahan 2017; Sullivan 2005). Consequently, gang violence is typically cast as a blight endogenous to communities of color, reflective of innate, or cultural criminality (Metcalf 2012; Russell 1998; Surette [1990] 2010).…”
Section: Moral Panics and Mass Shootings Coveragementioning
Objectives: We examine how news media portrays the causes of mass shootings for shooters of different races. Specifically, we explore whether White men are disproportionately framed as mentally ill, and what narratives media tend to invoke when covering mass shootings through the lens of mental illness as opposed to other explanatory frames. Methods: The study examines a unique data set of 433 news documents covering 219 mass shootings between January 1, 2013, and December 31, 2015. It analyzes the data using a mixed methods approach, combining logistic regression with content analysis. Results: Quantitative findings show that Whites and Latinos are more likely to have their crime attributed to mental illness than Blacks. Qualitative findings show that rhetoric within these discussions frame White men as sympathetic characters, while Black and Latino men
“…Ethnicised accounts became the basis for a concerted effort by the press to establish the black gangs discourse and further catalysed media interest in black, urban youth criminality. This mode of racialised discourse also neglected analytical readings of crime as an outcome of problematic socio-economic structures or institutional power (Metcalf 2012). Since these crimes appeared to be concentrated within inner-city estates and committed by black people against black people, mainstream media culture combined to pathologise gun crime as emanating solely from within Britain's black community, and to represent urban violence as intra-racial and thus a problem created by and within black society.…”
Section: Channel 4 New Labour and The Allure Of The Black Urban Crimentioning
In the early 2000s, a new form of multicultural television drama began to emerge in the UK, exploring contemporary gang life within Britain's black communities. A notable example of this ‘black urban crime’ genre is Top Boy, screened by the UK's leading multicultural public service broadcaster, Channel 4, in 2011 and 2013. This article produces an analysis, drawing on sociological and media studies perspectives, and through historicisation and contextualisation, that seeks to understand the fascination of the black urban crime genre for programme-makers, broadcasters and audiences in the contemporary British mediascape. It locates Top Boy at the intersection of complex media relations and modes of production that are themselves intertwined with political, legislative and cultural agendas tied to post-multiculturalist and neoliberal tendencies within public service broadcasting frameworks. The article suggests that black urban crime narratives do not advance understandings of the organisational structure of urban gangs or drug-related crime that are so central to these texts, nor do they offer a progressive contribution to contemporary debates or the representation of black criminality.
Prisons have become regular fixtures in late modern media. Despite this ubiquity, little research has been conducted examining representations of prisons and punishment within one of the most popular forms of contemporary entertainment media: video games. Drawing from cultural criminology and Gothic criminology, the current study examines punitive and carceral elements in the horror video game franchise of Silent Hill. Eight games within the series are analyzed through a combination of ethnographic content analysis and autoethnography to reveal two dominant themes evident throughout the series: retribution and confinement. As argued in this study, Silent Hill—like many horror productions—revels in ambiguity and expresses cultural anxieties stemming from the paradoxical vertiginous sentiments of insecurity amidst increasing securitization and prisonization of society and everyday life. Survival horror, including Silent Hill, is a product of both Japanese and American cultural formations. This analysis therefore argues that Silent Hill reveals an American-Japanese public imagination that clamors for respite from insecurity while also becoming horrified by the carceral apparatus it created.
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