ABSTRACT Titel: Teorin som omgärdar den fula kriminologin - Cultural criminology, en introduktion. Författare: Johanna Sundquist Nyckelord: Cultural criminology, world risk society, risksamhälle.   Dagens medialandskap är grundad i det skriftbaserade samhället och har därför stora möjligheter till samhällskritik. Vi som mediakonsumenter har också idag större möjlighet att kritisera media men också att kritisera via media än tidigare. Dagens samhälle genomsyras också av en mediekonsumtion av aldrig tidigare sedda mått (Christie, 2004:69). Vi pumpas med information i TV, i radio, på Internet - via bloggar, twittrar, communities och forum. Aldrig förr har heller kriminalitet getts sådan uppmärksamhet i media (Jewkes, 2004:141). Inte bara information kring kriminalitet erbjuds via de olika mediekanalerna utan även ett nöjeskapande kring brottsligheten. Trots att människan alltid varit fascinerad av det normbrytande så har intresset för kriminalitet alternativt brottsbekämpning aldrig varit så populärt. Vår kultur absorberar kriminaliteten som underhållning. Samtidigt har vi heller aldrig varit så rädda för att utsättas för brottslighet. Cultural criminology utforskar de sätt som dagens kultur har kommit att internalisera kriminalitet och brottspreventiva medel. Cultural criminology pekar på den centrala roll som ugly criminology har i porträtteringen av brottslighet och det budskap som medföljer den porträtteringen. Den allmänna synen, som konstruerad av populärkulturen, på kriminalitet och brottsprevention, den gemensamma oron inför den konstruerade bilden av kriminalitet i samhället, uppfattningen av risken att bli utsatt för brott samt civila brottspreventiva åtgärder blir fokus i modern kultur.    Uppsatsens är utförd i form av en litteraturstudie inom vilken en av författaren utförd mindre mediastudie också ges plats. Uppsatsens syfte är att avhandla vad som i de anglosaxiska länderna benämnts "cultural criminology". En ansats görs även att introducera begreppet cultural criminology i en svensk kontext. Ett övergripande syftet är även att driva den tes som talar för hur så kallade "ugly criminology" och ett vad jag väljer att kalla kulturgörande av kriminologi bidrar till framfarten för vad Beck benämner "risksamhället".    Uppsatsen finner att kulturaliserandet av kriminalitet genom starkt ökad medial uppmärksamhet har gjort att vår vardag påverkas av ugly criminology; avhandlade av kriminalitet, i någon form. Även om vi inte aktivt söker den i form av information eller förströelse så når den oss via analog eller digital media. Den finner att kulturaliserande i form av ökad medieexponering också påverkar vår uppfattning av hot och risk i samhället. Vi ger mening till vår rädsla genom att läsa tidningen i vilken vi ser att rädslan är befogad. Det är genom den mediebefogade rädslan som vårt riskkalkylerande befästs och vår tro på det otrygga samhället lever vidare. Författaren hävdar att cultural criminology likt bland annat det mediala planet i samhället efterliknar den anglosaxiska modellen också är på stark frammarsch.

<p>ABSTRACT</p><p>Titel: <em>Teorin som omgärdar den fula kriminologin - Cultural criminology, en introduktion.</em></p><p>Författare: Johanna Sundquist</p><p>Nyckelord: Cultural criminology, world risk society, risksamhälle.</p><p> </p><p>Dagens medialandskap är grundad i det skriftbaserade samhället och har därför stora möjligheter till samhällskritik. Vi som mediakonsumenter har också idag större möjlighet att kritisera media men också att kritisera via media än tidigare. Dagens samhälle genomsyras också av en mediekonsumtion av aldrig tidigare sedda mått (Christie, 2004:69). Vi pumpas med information i TV, i radio, på Internet - via bloggar, twittrar, communities och forum. Aldrig förr har heller kriminalitet getts sådan uppmärksamhet i media (Jewkes, 2004:141). Inte bara information kring kriminalitet erbjuds via de olika mediekanalerna utan även ett nöjeskapande kring brottsligheten. Trots att människan alltid varit fascinerad av det normbrytande så har intresset för kriminalitet alternativt brottsbekämpning aldrig varit så populärt. Vår kultur absorberar kriminaliteten som underhållning. Samtidigt har vi heller aldrig varit så rädda för att utsättas för brottslighet. Cultural criminology utforskar de sätt som dagens kultur har kommit att internalisera kriminalitet och brottspreventiva medel. Cultural criminology pekar på den centrala roll som ugly criminology har i porträtteringen av brottslighet och det budskap som medföljer den porträtteringen. Den allmänna synen, som konstruerad av populärkulturen, på kriminalitet och brottsprevention, den gemensamma oron inför den konstruerade bilden av kriminalitet i samhället, uppfattningen av risken att bli utsatt för brott samt civila brottspreventiva åtgärder blir fokus i modern kultur. </p><p> </p><p>Uppsatsens är utförd i form av en litteraturstudie inom vilken en av författaren utförd mindre mediastudie också ges plats. Uppsatsens syfte är att avhandla vad som i de anglosaxiska länderna benämnts "cultural criminology". En ansats görs även att introducera begreppet cultural criminology i en svensk kontext. Ett övergripande syftet är även att driva den tes som talar för hur så kallade "ugly criminology" och ett vad jag väljer att kalla kulturgörande av kriminologi bidrar till framfarten för vad Beck benämner "risksamhället". </p><p> </p><p>Uppsatsen finner att kulturaliserandet av kriminalitet genom starkt ökad medial uppmärksamhet har gjort att vår vardag påverkas av ugly criminology; avhandlade av kriminalitet, i någon form. Även om vi inte aktivt söker den i form av information eller förströelse så når den oss via analog eller digital media. Den finner att kulturaliserande i form av ökad medieexponering också påverkar vår uppfattning av hot och risk i samhället. Vi ger mening till vår rädsla genom att läsa tidningen i vilken vi ser att rädslan är befogad. Det är genom den mediebefogade rädslan som vårt riskkalkylerande befästs och vår tro på det otrygga samhället lever vidare. Författaren hävdar att cultural criminology likt bland annat det mediala planet i samhället efterliknar den anglosaxiska modellen också är på stark frammarsch.  </p>

This study contends that the spaces where crime occurs in films are not neutral; they are layered with maps of meaning that we construct somewhere between the imagined and the lived. Given that popular cultural representations both shape and reflect our understandings of crime and space, a study examining where crime occurs in films was warranted but previously unrealized in the criminological literature. This study addresses this gap in the literature by considering how geographies of crime are characterized in a sample of ten recent popular crime films. Applying a qualitative content analysis approach, this study foregrounds the onscreen spaces where crimes occur in an attempt to expose and denaturalize the meanings around crime that are embedded in these backgrounds. Particular regard is given here to the twinning of crime and urbanity, the aesthetics of insecurity, and the gendering of geographies of crime.

Criminologists and sociolegal scholars have become increasingly interested in studying media representations of crime in popular culture. They have studied representations using content analyses, often examining their “accuracy” against academic research. Alternatively, these scholars have also studied media effects. In contrast to these studies, I focus on the television production process of making entertaining, dramatic representations of crime. In doing so, I empirically address the following research question: how do TV writers know about crime, and how do they transform that knowledge into fictional representations? I answer this question using a triangulation of methods to gather data – specifically, ethnography, archival research, and interviews with writers and producers – and through the juxtaposition of several case studies. My case studies include the following Canadian crime television programs: 1) the police drama 'The Bridge,' 2) an original Canadian drama about insurance fraud, 'Cra$h and Burn,' and 3) crime docudramas, such as 'F2: Forensic Factor' and 'Exhibit A: Secrets of Forensic Science.' Taking cues from Bruno Latour’s actor-network theory, I focus on the site-specific, concrete, dynamic processes through which each television production makes fiction. I conceive of the writers’ room as a laboratory that creates representations through collaborative action and trial and error. This research demonstrates that, during the production process, representations of crime are unstable, constantly in flux as various creative and legal entities compel their revision. Legal entities, such as Errors and Omissions insurance and broadcasters’ Standards and Practices, regulate the content and form of representations of crime prior to their airing. My findings also reveal the contingency of (commercial) success, the heterogeneity of people who make up television production staff, and the piecemeal state of knowledge that circulates between producers, network executives and writers.

Criminologists and sociolegal scholars have become increasingly interested in studying media representations of crime in popular culture. They have studied representations using content analyses, often examining their “accuracy” against academic research. Alternatively, these scholars have also studied media effects. In contrast to these studies, I focus on the television production process of making entertaining, dramatic representations of crime. In doing so, I empirically address the following research question: how do TV writers know about crime, and how do they transform that knowledge into fictional representations? I answer this question using a triangulation of methods to gather data – specifically, ethnography, archival research, and interviews with writers and producers – and through the juxtaposition of several case studies. My case studies include the following Canadian crime television programs: 1) the police drama 'The Bridge,' 2) an original Canadian drama about insurance fraud, 'Cra$h and Burn,' and 3) crime docudramas, such as 'F2: Forensic Factor' and 'Exhibit A: Secrets of Forensic Science.' Taking cues from Bruno Latour’s actor-network theory, I focus on the site-specific, concrete, dynamic processes through which each television production makes fiction. I conceive of the writers’ room as a laboratory that creates representations through collaborative action and trial and error. This research demonstrates that, during the production process, representations of crime are unstable, constantly in flux as various creative and legal entities compel their revision. Legal entities, such as Errors and Omissions insurance and broadcasters’ Standards and Practices, regulate the content and form of representations of crime prior to their airing. My findings also reveal the contingency of (commercial) success, the heterogeneity of people who make up television production staff, and the piecemeal state of knowledge that circulates between producers, network executives and writers.

The theme of this thesis is Cultural criminology and narrative analysis. The work is divided into four chapters that focus on the subject of cultural criminology, its methods and benefits. The first chapter introduces cultural criminology, its main concepts, influences and development. The second chapter presents selected methods of cultural criminology in detail, namely ethnography and media analysis. The third section describes in detail the narrative analysis and its benefits. In addition, this chapter provides an example of using this method of narrative analysis in a document created by Anders Breivik before his terroristic attacks in Oslo, Norway in July 2011. Finally, the third chapter introduces the narrative criminology, criminological approach to the study of crime that is emerging as an independent forensic industry. The fourth chapter summarizes the benefits and drawbacks of cultural criminology and its possibilities as a criminological movement. The aim of this thesis is to present cultural criminology - new theoretical and methodological approach to the study of crime that places crime and its control in the context of culture. The objective of this thesis is to acquaint readers with how this trend evolved, with its subject, methods and theoretical foundations. This work presents how...

This study contends that the spaces where crime occurs in films are not neutral; they are layered with maps of meaning that we construct somewhere between the imagined and the lived. Given that popular cultural representations both shape and reflect our understandings of crime and space, a study examining where crime occurs in films was warranted but previously unrealized in the criminological literature. This study addresses this gap in the literature by considering how geographies of crime are characterized in a sample of ten recent popular crime films. Applying a qualitative content analysis approach, this study foregrounds the onscreen spaces where crimes occur in an attempt to expose and denaturalize the meanings around crime that are embedded in these backgrounds. Particular regard is given here to the twinning of crime and urbanity, the aesthetics of insecurity, and the gendering of geographies of crime.

The stories about prison are infinite, and ultimately affect our understanding of incarceration. Punishment and prison are also political, and the shape of the penal system is fundamentally different in different countries. In Sweden, prison has been understood as part of the welfare state, and depicted as a rehabilitative measure, employed on the road towards a better society. It is essential to study how punishment is constructed in political and cultural discourse, because of how it affects the understanding and legitimacy of the penal system. Building on previous research on the relationship between punishment and the welfare state, as well as on prison in culture, this study investigates how The Swedish Prison and Probation Service (Kriminalvården) depict their operations in their podcast Without Passing Go and in their advertising campaign in the fall of 2023. Drawing on the concept of Nordic exceptionalism, and a cultural criminological understanding of how fact and fiction blur when it comes to crime and criminal justice, this thesis revolves around what stories of the Swedish carceral system are told in Kriminalvården’s own channels of communication. Ultimately, prison and the work Kriminalvården perform are often legitimized through calling upon welfare ideals, but the study also encountered deviations from this approach. Furthermore, Kriminalvården at times make use of the danger and thrill of prison, reproducing cultural understandings of incarceration, and the inmate is constructed as at times dangerous, and at times reformable. Lastly, the advertisement is discussed, and how it seems to indicate Kriminalvården’s crucial role in ensuring the continuation of our ‘normal’ lives, reproducing notions of normalcy and deviancy. Taken together, the thesis thereby discusses several different aspects of Kriminalvården’s legitimacy-making.

Doctor of Philosophy / Department of Sociology, Anthropology, and Social Work / L. Susan Williams / This study is about two grassroots political organizations that formed prior to the 2012 presidential election in the United States, each concerned with the nation's economy, corporate favoritism, government involvement, and growing income inequality. The study outlines an historical account of a culture of control, and then analyzes actions of two contemporary protest organizations – The Tea Party, known as politically conservative; and Occupy Wall Street (OWS), characterized as liberal – as the national election unfolded. Each group sought to change the political landscape and influence the outcome of the presidential election, but with competing messages and very different approaches. Seeking change from the inside, The Tea Party emphasized limited government regulation of the market economy. OWS intended to crumble the system by outside resistance and demanded government attention to economic inequality. Field research and content analysis provide insight into behaviors, beliefs, and actions of each group, which, in turn, identify efforts to resist the status quo. Content analysis of print news provides evidence of state responses toward each group, while also offering insight into media framing and public influence. Finally, a survey of official responses from host communities reveals specific efforts to control protest organizations, ranging from acts of diplomacy to violent opposition. Findings demonstrate how roles of the Tea Party and OWS are not always in conflict, such as media often portray; for example, both groups contested corporate control. The Tea Party met token success, but stopped short of influencing top echelons. OWS brought attention to system inequities, but failed to maintain significant pressure; instead, participants were criminalized for acts of protest. Ironically, in the end, both groups' efforts reinforced the culture of control they sought to resist. Theoretically, a cultural criminology framework, integrating symbolic interaction and social control, demonstrates how structural constraints oppose grassroots political efforts.

1 juli 2020 trädde en ny straffskärpningsgrund i laga kraft, som innebar att hedersmotiv ska utgöra en försvårande omständighet. Syftet med vår studie var att undersöka skillnaden mellan hur tingsrätten och åklagaren motiverar och argumenterar kring hedersmotivet i sex utvalda domar, innan och efter straffskärpningsgrunden. Vi valde att göra en kvalitativ innehållsanalys av dessa domar och valde ut materialet med hjälp av ett kriteriestyrt urval. De teorier vi valde att utgå från var det ideala offret och kulturkriminologi. Vår analys av domarna resulterade i ett flertal mönster, som exempelvis: kontrollbehov hos gärningspersonen och övervåld. Vi drog slutsatsen att både tingsrätten och åklagaren redan innan straffskärpningsgrunden tillkom tog hänsyn till hedersmotivet, på så sätt att man ansåg att brottet var särskilt hänsynslöst. / On the 1st of July 2020 a new increase in the severity of a penalty gained legal effect. This means that a crime where the motive is honour-related is supposed to be seen as an aggravating circumstance. The purpose with our study is to examine the difference between how the court and prosecutor motivates and argue around the motive before and after the increased penalty.The method we chose was a qualitative content analysis and we chose the sentences with a criteria-driven selection. The theories that we chose were the ideal victim and cultural criminology. Our analysis resulted in a few patterns: need of control from the perpetrator and assault. Our conclusion is that both the court and the prosecutor before the increased penalty took the honour-related motive into account because they saw the crime as especially ruthless.