Titlebook: Critiquing Violent Crime in the Media; Maria Mellins,Sarah Moore Textbook 2021 The Editor(s) (if applicable) and The Author(s), under exc

Resistance

Gender, True Crime and the Violent Subjectthat not only does this preclude consideration of male audiences of true crime, but it also ignores other types of violent masculine subject. With this in mind, the chapter interrogates the figure of the gangster, often connected to organised crime, who arguably represents a more compelling, attract

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Introduction,haracterise twenty-first- century culture. This is reflected in the book’s core themes—outlined in this chapter—namely the interest in ‘true’ and ‘real’ crime, the commodification of suffering and new spaces of consumption. We examine the media’s role in constructing violent crime, focussing on the

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“Don’t Let Netflix Tell You What to Think!”: Debates on Getting to Know the Accused/Convicted in , atrend and specifically how . (2015, Demos & Ricciardi) encourages audiences to “get to know” convicted felons Stephen Avery and Brendan Dassey. It also explores how the series attempts to validate their appeals, understand their convictions and critique the institutions involved, thus providing oppo

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From ‘Forensic Narratives’ to ‘Narratives of Forensics’: Telling Stories About the Murder of Gay Gib stories about the 1947 murder of Gay Gibson by James Camb from news media and archived trial documents, through iterations of the narrative over more than seventy years, I identify the forensic contexts of courtroom and capital punishment as critical to comprehending the construction and reincarnat

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‘Stay Sexy and Don’t Get Murdered’: Depictions of Female Victimhood in Post-Me Too True Crimet ., Hallie Rubenhold’s book . (2019), and documentaries . (2019) and . (2020), women’s voices and perspectives are centred in ways that significantly question how female victimhood is represented, both in true crime and within wider cultural contexts. However, while these texts can be seen to chall

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