In growing numbers criminologists are discovering the value of imaginative and creative approaches for enquiry. There is now a critical mass of criminological work that engages substantively and theoretically with cultural artefacts such as film, fiction, music, dance, art, photography and cultural institutions. In doing so these works highlight criminology’s persistent epistemological and methodological weaknesses. The broad and fragmented “imaginative criminology” movement offers a challenge to an orthodox criminology that is guided by the coercive and constraining bureaucratic categories of criminal justice administration and the criminal law. Imaginative criminology displaces these as the governing categories of criminological thought and practice. Drawing on the work of Pierre Bourdieu, Louis Althusser, and C. Wright Mills this paper considers the movement’s epistemological significance and the challenge posed to criminological orthodoxy. Full article

Prompted by the need to expand the criminological enterprise, this paper makes a case for a critical criminology of education, one that takes a governance approach. It seeks to illustrate what such a criminology might entail by developing an analytic framework with which to analyze the educational field. The framework is put to use to provide an analytic discussion of Ontario education policy reformations concerning student discipline. Education was conceptualized by policymakers as an institution for disciplining and governing students, specifically through the concept of “bullying”. From this analysis, the paper suggests it is possible to theorize education as a “security apparatus”, one that is increasingly concerned with the governance of social (in)security and public safety. The discussion suggests that education is an important institution for governing by identifying one regulatory project that concerns student behavior both within and beyond the school. In so doing, the paper illustrates the creative process in developing a criminology of education, and the value of imaginative thinking within criminology. Full article

This paper explores the central role of documentary filmmaking as a methodological practice in contemporary criminology. It draws from cultural criminology to develop emerging, open-ended practices for conducting ethnographically inflected audiovisual research that crafts sensory knowledge from aesthetic experience. First, it demonstrates how documentary criminology is an ethnographic practice that embraces audiovisual technologies to inflect, render, and depict the aesthetics of material, sensory, and corporeal experiences of crime and transgression as knowledge production. Second, it explores a particular type of lived experience that John Dewey terms “aesthetic” to demonstrate the sorts of tangible and intangible entities that documentary criminology can interpret, record and depict as knowledge. To demonstrate this approach, the article employs a variety of examples from cultural criminology and from the documentary Mardi Gras: Made in China. The final part of the paper turns to an analysis of Mardi Gras: Made in China itself to illustrate the overlap of theory, methods, and reflexive practices of documentary criminology within four broad aesthetic domains: temporality, topography, corporeality, and the personal. The inclusion of documentary within an open-ended methodological sensibility, both as a mode of analysis and as a means of producing sensory knowledge, can expand the criminological imagination. Full article

The internet provides the means through which a “self-activating terrorist” may first self-radicalize through some imaginary or sympathetic connection with an organized terrorist network. Additionally, the internet allows such a self-activating terrorist to move into the stage of radical violent action. The internet serves both functions by providing the lone wolf with not only a rhetorical medium for self-justification and communication through the use of “monster talk” and its converse, the rhetoric about the “good citizen,” but it is also a source for relatively inexpensive and more unpredictable technologies of mass destruction. Crucial to this analysis is the distinction between radicalization of thought and radicalization of action, as a theoretical rhetoric of radicalization does not automatically convert into a rhetoric of radical action unless there are catalysts at work. The internet, as well as imagined relations cemented by the rhetorics of “jihadi cool” or “jihadi chic,” function as these crucial catalysts, galvanizing monster talk into monstrous action. The article focuses specifically on the case of self-activating terrorist Colleen LaRose to analyze how different factors—mental, psychological, social, and economic—interact with imaginative elements, such as surrogate father-mentor-lover relations for LaRose, and contribute to the formation of a self-activating terrorist, and what ultimately motivates and galvanizes her to move from a rhetoric of radical talk to a rhetoric of radical action, using Silber and Bhatt’s model of radicalization as an initial heuristic. In the case of Colleen LaRose, the romance of “jihadi chic” or “jihadi cool” (the converse of the rhetoric of the monstrous “infidel” or “lone wolf terrorist”) was an essential factor to her self-radicalization. It is this imagined status of “jihadi chic” or “jihadi cool” (that nevertheless must somehow have a look of “reality” or “authenticity” and command a response from its audience) that continues to be a crucial component of the success of recruitment strategies of radical jihadi groups, such as ISIS. Full article

This paper proposes a journey through some of the many novels written by Honoré de Balzac, through the mythic constitution of his world, his epic, which summons up the same recurrent circle of figures: his “human comedy” will offer surprising insights for a better understanding of the crimes of the powerful. Full article

This article applies feminist theory with cultural criminology to explore the role of theatre in the lives of criminalized women. Theatre initiatives for criminalized populations are growing worldwide, and so we are seeking to better understand how these two realms intersect. This article is based on a case study which was conducted at the Clean Break Theatre Company in London, England in the summer of 2013. We explore some of the emerging themes, which took shape from a thematic analysis. First we describe how theatre can be used as a lens into the experiences of criminalized women, and then as a tool for growth in their lives. The role of environment at Clean Break, and the role of voice from practicing theatre in a women-only environment are then discussed. Lastly, the roles of transformation and growth overall for the participants are explored in relation to their experiences with theatre practices. This article works to understand how theatre practices can elevate and adapt cultural criminology into a new form of imaginative criminology, and questions how we can embrace this form of engagement between theatre and criminology within a Canadian context. Full article