With the growth of printing in early modern Germany, crime quickly became a subject of wide public discourse. Sensational crime reports, often featuring multiple murders within families, proliferated as authors probed horrific events for religious meaning. Coinciding with heightened witch panics and economic crisis, the spike in crime fears revealed a continuum between fears of the occult and more mundane dangers. In Crime and Culture in Early Modern Germany, Joy Wiltenburg explores the beginnings of crime sensationalism from the early sixteenth century into the seventeenth century and beyond. Comparing the depictions of crime in popular publications with those in archival records, legal discourse, and imaginative literature, Wiltenburg highlights key social anxieties and analyzes how crime texts worked to shape public perceptions and mentalities. Reports regularly featured familial destruction, flawed economic relations, and the apocalyptic thinking of Protestant clergy. Wiltenburg examines how such literature expressed and shaped cultural attitudes while at the same time reinforcing governmental authority. She also shows how the emotional inflections of crime stories influenced the growth of early modern public discourse, so often conceived in terms of rational exchange of ideas.

There is no journalistic work more deserving of the designation “story” than news of crime. From antiquity, the culture of crime has been about the human condition, and whether information comes from Homer, Hollywood, or the city desk, it is a bottom about the human capacity for cruelty and suffering, about desperation and fear, about sex, race, and public morals. Facts are important to the telling of a crime story, but ultimately less so than the often apocryphal narratives we derive from them. The Culture of Crime is hence about the most common and least studies staple of news. Its prominence dates at least to the 1830s, when the urban penny press employed violence, sex, and scandal to build dizzying high levels of circulation and begin the modern age of mass media. In its coverage of crime, in particular, the popular press represented a new kind of journalism, if not a new definition of news, that made available for public consumption whole areas of social and private life that the mercantile, elite, and political press earlier ignored. This legacy has continued unabated for 150 years. The book explores new wrinkles in the study of crime and as a mass cultural activity—from exploring the private lives of public officials to dangers posed by constraints to a free press. The volume is prepared with the rigor of a scholarly brief but also the excitement of actual crime stories as such. Throughout, the reader is reminded that crime stories are both news and drama, and to ignore either is to diminish the other. The work delves deeply into current problems without either sentimental or trivial pursuits. It will be a volume of great interest to people in communications research, the social sciences, criminologists, and not least, the broad public which must endure the punishment of crime and the thrill of the crime story alike.

In this incisive blend of personal narrative and philosophical inquiry, journalist and activist Barrett Holmes Pitner seeks a new way to talk about racism in America An NPR Best Book of the Year Can new language reshape our understanding of the past and expand the possibilities of the future? The Crime Without a Name follows Pitner’s journey to identify and remedy the linguistic void in how we discuss race and culture in the United States. Ethnocide, first coined in 1944 by Jewish exile Raphael Lemkin (who also coined the term "genocide"), describes the systemic erasure of a people’s ancestral culture. For Black Americans, who have endured this atrocity for generations, this erasure dates back to the transatlantic slave trade and reached new resonance in a post-Trump world.

From prison interviews with violent offenders and a wealth of experience and research, an Australian psychologist explores the complex interaction between crime and culture. Fifteen convicted adult male violent offenders explain their understanding, motivations and rationalisations for their actions in relation to values. This nuanced understanding adds significantly to criminological theory, as well as providing suggestions for better policing, offender management, and rehabilitation.

By broadening the focus beyond classic English detective fiction, the American 'hard-boiled' crime novel and the gangster movie, Crime Culture breathes new life into staple themes of crime fiction and cinema. Leading international scholars from the fields of literary and cultural studies analyze a range of literature and film, from neglected examples of film noir and 'true crime', crime fiction by female African American writers, to reality TV, recent films such as Elephant, Collateral and The Departed, and contemporary fiction by J. G. Ballard, Kazuo Ishiguro, and Margaret Atwood. They offer groundbreaking interpretations of new elements such as the mythology of the hitman, technology and the image, and the cultural impact of 'senseless' murders and reveal why crime is a powerful way of making sense of the broader concerns shaping modern culture and society.

Superman, Batman, Daredevil, and Wonder Woman are iconic cultural figures that embody values of order, fairness, justice, and retribution. Comic Book Crime digs deep into these and other celebrated characters, providing a comprehensive understanding of crime and justice in contemporary American comic books. This is a world where justice is delivered, where heroes save ordinary citizens from certain doom, where evil is easily identified and thwarted by powers far greater than mere mortals could possess. Nickie Phillips and Staci Strobl explore these representations and show that comic books, as a historically important American cultural medium, participate in both reflecting and shaping an American ideological identity that is often focused on ideas of the apocalypse, utopia, retribution, and nationalism. Through an analysis of approximately 200 comic books sold from 2002 to 2010, as well as several years of immersion in comic book fan culture, Phillips and Strobl reveal the kinds of themes and plots popular comics feature in a post-9/11 context. They discuss heroes’ calculations of “deathworthiness,” or who should be killed in meting out justice, and how these judgments have as much to do with the hero’s character as they do with the actions of the villains. This fascinating volume also analyzes how class, race, ethnicity, gender, and sexual orientation are used to construct difference for both the heroes and the villains in ways that are both conservative and progressive. Engaging, sharp, and insightful, Comic Book Crime is a fresh take on the very meaning of truth, justice, and the American way.

This work explores the situating of law and crime within the vast range and scope of contemporary media forms. Sheila Brown shows how crime and the law, or our understanding of them, are produced, reproduced, disturbed, and challenged in and through media culture.

Scholarly interest in the history of crime has grown dramatically in recent years and, because scholars associated with this work have relied on a broad social definition of crime which includes acts that are against the law as well as acts of social banditry and political rebellion, crime history has become a major aspect not only of social history, but also of cultural as well as legal studies. This collection explores how the history of crime provides a way to study time, place and culture. Adopting an international and interdisciplinary perspective to investigate the historical discourses of crime in Europe and the United States from the sixteenth to the late twentieth century, these original works provide new approaches to understanding the meaning of crime in modern western culture and underscore the new importance given to crime and criminal events in historical studies. Written by both well-known historians and younger scholars from across the globe, the essays reveal that there are important continuities in the history of crime and its representations in modern culture, despite particularities of time and place.

This book explores the links between crime, deviance and popular culture in our highly-mediatised era, offering an insight into the cultural processes through which particular practices acquire a criminal or deviant status, and come to be seen as social problems. Adopting a multidisciplinary approach, the edited collection brings together international scholars across various areas of specialisation to provide an up-to-date analysis of some important and topical issues in 21st-century popular culture. The chapters look at different aspects of popular culture, including fictional detective narratives and the true crime genre, popular media constructions of sexual deviance and Islamophobia, sports, graffiti and outlaw biker subcultures. The authors examine a wide range of relevant case studies through a number of crime and deviance-related theories. Crime, Deviance and Popular Culture will be of importance to scholars and students across several disciplines, including criminology, sociology of deviance, social anthropology, media studies, cultural studies, television studies and linguistics.

The Weimar Republic (1918-1933) was a crucial moment not only in German history but also in the history of both crime fiction and criminal science. This study approaches the period from a unique perspective - investigating the most notorious criminals of the time and the public's reaction to their crimes. The author argues that the development of a new type of crime fiction during this period - which turned literary tradition on its head by focusing on the criminal and abandoning faith in the powers of the rational detective - is intricately related to new ways of understanding criminality among professionals in the fields of law, criminology, and police science. Considering Weimar Germany not only as a culture in crisis (the standard view in both popular and scholarly studies), but also as a culture of crisis, the author explores the ways in which crime and crisis became the foundation of the Republic's self-definition. An interdisciplinary cultural studies project, this book insightfully combines history, sociology, literary studies, and film studies to investigate a topic that cuts across all of these disciplines.