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Annu.Rev. Sociol. 1999. 25:395-418
Copyright? 1999 by AnnualReviews.All rights reserved
CULTURALCRIMINOLOGY
Jeff Ferrell
Departmentof CriminalJustice,NorthernArizonaUniversity, Flagstaff,Arizona,
86011-5005; e-mail: Jeff.Ferrell@nau.edu
ABSTRACT
As an emergent orientationin sociology, criminology, and criminaljustice,
culturalcriminology explores the convergence of culturaland criminalpro-
cesses in contemporarysocial life. Drawing on perspectives from cultural
studies, postmoder theory, critical theory, and interactionistsociology, and
on ethnographicmethodologies and media/textualanalysis, this orientation
highlights issues of image, meaning, and representationin the interplay of
crime and crime control. Specifically, culturalcriminology investigates the
stylized frameworks and experiential dynamics of illicit subcultures;the
symbolic criminalizationof popular culture forms; and the mediated con-
structionof crime and crime controlissues. In addition,emergingareasof in-
quirywithin culturalcriminology include the developmentof situatedmedia
and situatedaudiences for crime;the media and cultureof policing; the links
between crime, crime control, and cultural space; and the collectively em-
bodied emotions that shape the meaning of crime.
INTRODUCTION
The concept of "cultural criminology" denotes both specific perspectives and
broader orientations that have emerged in criminology, sociology, and crimi-
nal justice over the past few years. Most specifically, "cultural criminology"
represents a perspective developed by Ferrell & Sanders (1995), and likewise
employed by Redhead (1995) and others (Kane 1998a), that interweaves par-
ticular intellectual threads to explore the convergence of cultural and criminal
processes in contemporary social life. More broadly, the notion of cultural
criminology references the increasing analytic attention that many criminolo-
gists now give to popular culture constructions, and especially mass media
395
0360-0572/99/0815-0395$08.00
396 FERRELL
FOUNDATIONSOF CULTURALCRIMINOLOGY
Historical and TheoreticalFrameworks
At its most basic, culturalcriminologyattemptsto integratethe fields of crimi-
nology and culturalstudies or, put differently,to importthe insights of cultural
studies into contemporarycriminology. Given this, much scholarshipin cul-
turalcriminology takes as its foundationperspectives that emerged out of the
British/BirminghamSchool of culturalstudies, and the British "new criminol-
ogy" (Tayloret al 1973), of the 1970s. The work of Hebdige (1979, 1988), Hall
& Jefferson (1976), Clarke (1976), McRobbie (1980), Willis (1977, 1990),
and others has attunedculturalcriminologiststo the subtle, situateddynamics
of deviant and criminal subcultures,and to the importanceof symbolism and
style in shapingsubculturalmeaningand identity.Similarly,the work of Cohen
(1972/1980), Cohen & Young (1973), Hall et al (1978), and others has influ-
enced contemporaryunderstandingsof the mass media's role in constructing
CULTURAL
CRIMINOLOGY397
the reality of crime and deviance, and in generating new forms of social and
legal control. At times, contemporary scholarship in cultural criminology
simply assumes this intellectual foundation or utilizes it only partially. At
other times, though, culturalcriminology's lineage in British culturalstudies
and the British new criminology is made explicit (Cohen 1996, Redhead
1995:33-46). In the introductionto a recent volume on crime and the media,
for example, Kidd-Hewitt (1995) outlines five key works that set the agenda
for subsequentresearchinto crime, representation,and social control:Young
(1971), Cohen (1972/1980), Cohen & Young (1973), Chibnall (1977), and
Hall et al (1978).
As a hybrid orientation,though, culturalcriminology has been built from
more thana simple integrationof 1970s Britishculturalstudies into contempo-
rary American criminology. Certainly, cultural criminologists continue to
draw on the insights of cultural studies as a developing field and on current
cultural studies explorations of identity, sexuality, and social space (During
1993, Grossberget al 1992). Moreover, with its focus on representation,im-
age, and style, culturalcriminology incorporatesnot only the insights of cul-
tural studies, but the intellectualreorientationaffordedby postmodernism.In
place of the modernistduality of form and content, and the modernisthierar-
chy thatproposesthatformmustbe strippedaway to get at the meaningfulcore
of content,culturalcriminologyoperatesfromthe postmoder propositionthat
form is content, that style is substance,that meaning thus resides in presenta-
tion and re-presentation.From this view, the study of crime necessitates not
simply the examinationof individualcriminals and criminalevents, not even
the straightforwardexaminationof media "coverage"of criminals and crimi-
nal events, but rathera journey into the spectacle and carnivalof crime, a walk
down an infinite hall of mirrorswhere images createdand consumedby crimi-
nals, criminal subcultures,control agents, media institutions, and audiences
bounce endlessly one off the other. Increasingly,then, culturalcriminologists
explore the "networks...ofconnections, contact,contiguity, feedbackand gen-
eralized interface"(Baudrillard1985:127; see Pfohl 1993) out of which crime
and crime control are constructed,the intertextual"media loops" (Manning
1998) through which these constructionscirculate, and the discursive inter-
connections thatemerge between media institutions,crime controlagents, and
criminalsubcultures(Kane 1998b). As partof this exploration,they in turnin-
vestigate criminaland deviant subculturesas sites of criminalization,criminal
activity, andlegal control,but also as "subalterncounterpublic[s],"as "parallel
discursive arena[s]where members...inventand circulate counterdiscourses"
and "expanddiscursive space" (Fraser 1995:291).
Groundedas it is in the frameworksof culturalstudies andpostmodernism,
culturalcriminology is at the same time firmly rooted in sociological perspec-
tives. Perhaps because of its emergence out of sociological criminology,
398 FERRELL
Methodological Frameworks
Culturalcriminology's melange of intellectualanddisciplinaryinfluences also
surfaces in the methodologies that culturalcriminologists employ. In explor-
ing the interconnectionsof cultureand crime, researchersutilize ethnographic
models rooted in sociology, criminology, culturalstudies, and anthropology;
modifications of these models suggested by recent developments in feminist,
postmodern,and existentialistthought;and a range of methods gearedtoward
media and textual analysis. Further,as will be seen, researchersat times com-
bine or overlay these methods in the course of particularprojects.Nonetheless,
thereremainswithin the broadframeworkof culturalcriminologya significant
split between methodologies oriented toward ethnography and field work
practice, and those orientedtowardmedia and textual analysis.
Ethnographicresearch in cultural criminology reflects the long-standing
attentiveness of cultural studies researchersto precise nuances of meaning
within particularculturalmilieux. Willis (1977:3), for example, notes that his
use of ethnographictechniques was "dictatedby the natureof my interest in
'the cultural.'These techniquesare suited to recordthis level andhave a sensi-
tivity to meanings and values...." At the same time, ethnographicresearchin
culturalcriminology reflects the sociological and criminological traditionof
deep inquiry into the situated dynamics of criminal and deviant subcultures
(Adler 1985, Becker 1963, Humphreys 1975); especially influential here are
Polsky's (1969) manifesto on the necessary politics and practice of field re-
search among deviant and criminalpopulations,and Hagedor's (1990) more
recent echoing of these themes. In addition, the practice of field research
within cultural criminology incorporates recent reconsiderations of field
method among sociologists, criminologists, and anthropologists(Burawoy et
al 1991, Ferrell & Hamm 1998, Van Maanen 1995a), and among feminists,
postmodernists,and existentialists (Fonow & Cook 1991, Clough 1992, Den-
zin 1997, Sanders 1995, Adler & Adler 1987) inside and outside these disci-
plines. Together,these works suggest that field researchoperatesas an inher-
ently personal and political endeavor, profoundly engaging researcherswith
situationsand subjects of study. These works thus call for reflexive reporting
on the researchprocess, for an "ethnographyof ethnography"(Van Maanen
400 FERRELL
CONTEMPORARYAREAS OF INQUIRY
Framedby these theoretical and methodological orientations,culturalcrimi-
nological research and analysis have emerged in the past few years within a
numberof overlappingsubstantiveareas.The first two of these can be charac-
terized by an overly simple but perhaps informative dichotomy between
"crime as culture"and "cultureas crime." The thirdbroad area incorporates
the varietyof ways in which media dynamicsconstructthe reality of crime and
CRIMINOLOGY403
CULTURAL
panic over crime and crime waves, amplified fear of street crime and stranger
violence, and politically popularconcern for the harmdone to crime victims,
then, is the pleasure found in consuming mediated crime imagery and crime
drama.To the extent that the mass media constructscrime as entertainment,
we are thus offered not only selective images and agendas, but the ironic
mechanismfor amusingourselves to death(Postman 1986) by way of our own
collective pain, misery, and fear. Given this, contemporarymedia scholarship
in culturalcriminology focuses as much on popularfilm, popularmusic, and
television entertainmentprogramming as on the mediated manufactureof
news and information,and it investigates the collapsing boundariesbetween
such categories. Recent work in this area targets especially the popularityof
"reality"crimeprograms(Fishman& Cavender1998). Withtheirmix of street
footage, theatricalstaging, andpatrol-carsermonizing,realitycrimeprograms
such as "C.O.P.S.,""L.A.P.D.,"and"TrueStories of the Highway Patrol"gen-
erate conventional,though at times contradictory,images of crime and polic-
ing. Along with talk shows devoted largely to crime and deviance topics, they
in turnspin off secondarymerchandisingschemes, legal suits over videotaped
police chases and televised invasions of privacy, and criminalactivities alleg-
edly inducedby the programsthemselves. Such dynamicsdemonstratethe en-
tangledrealityof crime, crimenews, and crime entertainment,and suggest that
as mediated crime constructionscome to be defined as real, "they are real in
their consequences"(Thomas 1966:301).
Clearly, a common thread connects the many domains into which cultural
criminology inquires:the presence of power relations, and the emergence of
social control, at the intersectionsof cultureand crime. The stylistic practices
and symbolic codes of illicit subculturesare made the object of legal surveil-
lance and control or, alternatively,are appropriated,commodified, and sani-
tized within a vast machineryof consumption.Sophisticatedmedia and crimi-
nal justice "culturewars"are launchedagainst alternativeforms of art,music,
and entertainment,thereby criminalizing the personalities and performances
involved, marginalizingthem from idealized notions of decency and commu-
nity and, at the extreme, silencing the political critiquesthey present.Ongoing
media constructionsof crime and crime control emerge out of an alliance of
conveniencebetween media institutionsand criminaljustice agencies, serve to
promoteand legitimatebroaderpolitical agendasregardingcrime control,and
in turnfunctionto both trivialize and dramatizethe meaningof crime. Increas-
ingly, then, it is television crime shows and big budget detective movies,
nightly newscasts and morning newspaper headlines, recurrentcampaigns
against the real and imagined crimes of the disenfranchisedthat constitute
CRIMINOLOGY409
CULTURAL
Crimeand CulturalSpace
Many of the everyday situations in which crime and policing are played out,
and in fact many of the most visible contemporarycontroversiessurrounding
crime and policing issues, involve the contestationof culturalspace. Incorpo-
ratingperspectives from culturalstudies, culturalgeography,and postmodern
geography(Merrifield& Swyngedouw 1997, Scott & Soja 1996, Davis 1992),
the notion of culturalspace references the process by which meaning is con-
structedand contested in public domains (Ferrell 1997). This process inter-
twines with a variety of crime and crime control situations.Homeless popula-
tions declareby theirpublic presence the scandalof inequality,and they are in
turnhoundedandherdedby a host of loitering,vagrancy,trespass,public lodg-
ing, and public nuisance statutes."Gutterpunks"invest downtown street cor-
ners with disheveled style, "skatepunks"and skateboardersconvertwalkways
and parkinggaragesinto playgrounds,Latino/astreet"cruisers"createmobile
subculturesout of droppedframesandpolished chrome-and face in response
aggressive enforcement of laws regardingtrespass, curfew, public sleeping,
and even car stereo volume. Street gangs carve out collective cultural space
from shared styles and public rituals; criminaljustice officials prohibit and
confiscate stylized clothing, enforce prohibitionsagainstpublic gatheringsby
"known" gang members, and orchestratepublic gang "round-ups."Graffiti
writers remake the visual landscapes and symbolic codes of public life, but
they do so in the face of increasingcriminalsanctions, high-tech surveillance
systems, andnationallycoordinatedlegal campaignsdesignedto remove them
and their markingsfrom public life.
As with the mediated campaigns of cultural criminalization discussed
above, these conflicts over crime and culturalspace regularlyemerge around
the marginalized subculturesof young people, ethnic minorities, and other
groups, and thus they raise essential issues of identity and authenticity
(Sanchez-Tranquilino1995). Such conflicts in turn incorporatea complex
criminalizationof these subculturesas partof a systematiceffort to erase their
self-constructedpublic images, to substitutein theirplace symbols of homoge-
neity and consensus, and thereby to restore and expand the "aesthetics of
CRIMINOLOGY413
CULTURAL
CONCLUSIONS
As an emerging perspective within criminology, sociology, and criminaljus-
tice, culturalcriminology drawsfrom a wide rangeof intellectualorientations.
Revisiting and perhapsreinventingexisting paradigmsin culturalstudies, the
"new" criminology, interactionistsociology, and critical theory; integrating
insights from postmoder, feminist, and constructionistthought;and incorpo-
ratingaspects of newsmaking, constitutive,and other evolving criminologies,
culturalcriminology seek less to synthesize or subsumethese variousperspec-
tives than to engage them in a critical, multifacetedexplorationof cultureand
crime. Linkingthese diverse intellectualdimensions, andtheirattendantmeth-
odologies of ethnographyandmedia/textualanalysis, is culturalcriminology's
overarchingconcernwith the meaning of crime and crime control. Some three
decades ago, Cohen (1988:68, 1971:19) wrote of "placingon the agenda"of a
414 FERRELL
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