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Book review: Keith Hayward and Mike Presdee (eds), Framing Crime: Cultural Criminology and the Image

Document Cited in Related
Vincent
AuthorTravis Linnemann,Danielle Dirks
DOI10.1177/1362480613498493
Published date01 May 2014
Date01 May 2014
Subject MatterBook reviews
/tmp/tmp-18OYO5tUS6SjEI/input Book reviews
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need to make the counting count, as each of these books in their different ways does.
Quinney himself once observed: witnessing is never a neutral process. Witnessing,
whether through autobiographical material, investigative journals, film or photographs,
captures people’s lives. Photographs are sometimes frozen in time and sometimes reso-
nate over time. Now, given the developments in digital technology, they do not fade over
time. They can tell us much about the social conditions of individuals and communities.
Consequently there is much for criminology to learn from, and critically reflect upon,
from the kind of data that books such as these expose us to. They, in and of themselves,
constitute the kind of witnessing of real life that will invigorate the discipline.
Reference
Sullivan D (2010) The things a man once saw (and was): An appreciation of Richard Quinney.
Contemporary Justice Review 13: 321–330.
Keith Hayward and Mike Presdee (eds), Framing Crime: Cultural Criminology and the Image,
Routledge: New York, 2010; 211 pp.: 9780415459044, US $59.95 (pbk)
Reviewed by: Danielle Dirks, Occidental College, USA and Travis Linnemann, Old
Dominion University, USA
In 2010, cultural criminology enhanced its contributions to the visual field with the pub-
lication of Framing Crime: Cultural Criminology and the Image. Edited by cultural
criminology stalwarts Keith Hayward and the late Mike Presdee, Framing Crime draws
together an impressive group of international scholars to flesh out the theoretical and
methodological nuances of a visual cultural criminology and to argue for the importance
of the image within criminology more generally. In the introductory essay, Hayward
thoughtfully outlines the aim of the volume and, in doing so, defines how a cultural
criminology of the image differs from effects studies, film theory and other efforts found
under the rubric ‘media studies’. Hayward’s urgent call for all criminologists to grasp
‘the...

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