Video Methods, Green Cultural Criminology, and the Anthropocene: SANCTUARY as a Case Study

Abstract

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Ruido, luz artificial y olor. Criminología verde y cultural aplicada al eco acústico-sensorial de los espacios urbanos

“…En cuanto a los métodos cualitativos, la sociología interpretativa ha reinterpretado la criminología verde y cultural con métodos como la narrativa (supra Brisman, 2017); el "visual verstehen" o comprensivismo weberiano a través de la imagen (Redmon, 2018;; la etnografía y la auto-etnografía como sistemas que sugieren nuevas formas de 17 Por otra parte, es insólito pero indiscutible el descenso drástico del "ruido sísmico", es decir, las vibraciones que nuestras actividades diarias causan sobre la corteza terrestre, durante el periodo de confinamiento ocasionado por la pandemia Covid-19 (Gibney, 2020), mientras que el ruido invasor en el ámbito domiciliario de innumerables ciudades ha sufrido un repunte fulgurante. Al respecto, se recomienda consultar el proyecto global de sonido colaborativo "Cities and Memory.…”

The Fable of The Three Little Pigs: Climate Change and Green Cultural Criminology

“…For present purposes, if cultural criminology is, to quote Ferrell (1999: 396), 'an emergent array of perspectives linked by sensitivities to image, meaning, and representation in the study of crime and crime control', then green cultural criminology might be conceptualised as an emergent array of perspectives linked by sensitivities to image, meaning and representation in the study of green or environmental crime and environmental crime control. Accordingly, green cultural criminology (1) harm and disaster are constructed, envisioned and represented by the news media and in popular cultural forms; (2) dedicates increased attention to patterns of consumption, constructed consumerism, commodification of nature and related market processes; and (3) devotes heightened concern to the contestation of space, transgression and resistance to analyse the ways in which environmental harms are opposed in and on the streets, and in day-to-day living (Brisman 2014(Brisman , 2015a(Brisman , 2017a(Brisman , 2017b(Brisman , 2017cBrisman and South 2012, 2015a, 2017cBrisman, McClanahan and South 2014;Mazurek 2017;McClanahan 2014;McClanahan, Brisman and South 2017;Redmon 2018;Schally 2018). The first of these is most pertinent to this paper's purpose.…”

Representing the “invisible crime” of climate change in an age of post-truth

“…In the last five years, green cultural criminology —what might be called a “perspective within a perspective”—has been concerned, in part, with the way(s) in which environmental crime, harm and disaster are constructed and represented by the news media and in popular cultural forms (Brisman, 2014a, 2015a, 2017a, 2017b, 2017c, In press; Brisman and South, 2012, 2013, 2014, 2015a, 2017a, 2017b, 2017d, 2018; Brisman et al, 2014; Mazurek, 2017; McClanahan, 2014; McClanahan et al, 2017; Redmon, 2018; Schally, 2014, 2018). This has included, inter alia, examinations of: (a) mediated constructions, depictions and representations of environmental crimes, disasters, harms, and risks in the news; (b) “documentary-reality” television series that recreate or reenact “man-against-nature” epics; (c) fictional/science-fictional accounts of environmental harm and conflict over natural resources; and (d) contemporary visions of the demise of planet Earth and its ability to support its biotic and abiotic components—specifically, the cinematic and literary depictions and meaning of different endtime scenarios of environmental catastrophe.…”