RACIST TORTURE AND THE CODE OF SILENCE

We join Eduardo Bonilla-Silva’s structural theory of the racialized U.S. social system with a situational methodology developed by Arthur L. Stinchcombe and Irving Goffman to analyze how law works as a mechanism that connects formal legal equality with legal cynicism. The data for this analysis come from the trial of a Chicago police detective, Jon Burge, who as leader of an infamous torture squad escaped criminal charges for more than thirty years. Burge was finally charged with perjury and obstruction of justice, charges that obscured and perpetuated the larger structural reality of a code of silence that enabled racist torture of more than a hundred Black men. This case study demonstrates how the non-transparency of courtroom sidebars plays an important role in perpetuating systemic features of American criminal injustice: a code of silence, racist discrimination, and legal cynicism.

Peran Reserse dalam Penyidikan Tindak Pidana Pencurian dengan Pemberatan (Studi Kasus Polsek Sukawati Gianyar Bali)

Recently, the incidence of criminal acts of theft with weights has increased, the investigator in handling this case must be careful in uncovering criminal acts of theft with weights. This study aims to examine the role of the detective in uncovering the crime of theft by weighting and analyzing the obstacles of the investigator in uncovering the crime of theft by weight. The type of research used is empirical, namely research based on facts that occur and develop existing concepts, the approach method used is by conducting research in the field. The sources of legal materials used are primary and secondary legal materials obtained through observation and documentation. After all the data has been collected, the next step is to process and analyze it qualitatively. The results showed that the role of the criminal investigator of the Sukawati Police in uncovering the criminal act of theft of weighting began with a complaint report from the public, then the action of the Sukawati Police Detective carried out an examination at the scene of the case, examination of witnesses, confiscation of evidence, arrest, search, detention, filing. and submission of case files to the court. The obstacles faced by the Criminal Investigation Unit of the Sukawati Sector are the perpetrator, a recidivist, the lack of tools to track the perpetrators, and community factors.

Alternative Visions Of Crime And Community In Wilkie Collins' The Woman In White And The Moonstone

When T. S. Eliot described Wilkie Collins’ The Moonstone (1868) as the “first and greatest of English detective novels” (413), he could not have predicted the number of writers who would take issue with his brief phrase. While some have embraced Eliot’s adjectives (Bisla; Hennelly), others have critiqued the “first” and “greatest” descriptors, identifying Collins’ predecessors (Duncan; Klimaszewski), and contemporaries who offer The Moonstone some competition for the title of “greatest” (Smillie; Thomas). Still others have taken issue with defining the novel as “English,” due to its anti-Imperialist critiques (Narayan; Roy). Following in the footsteps of scholars such as Tamar Heller and D. A. Miller, the descriptor I choose to trouble in this essay is “detective.” Though The Moonstone inarguably contains a detective character, and a complex mystery that is indeed solved through detection, I argue that, especially when viewed in conjunction with Collins’ earlier novel The Woman in White (1859), Collins should be understood not as establishing the conventions of the detective novel to come, but as working against the tide of a developing genre which became increasingly police- and law-focused. Rather than valorizing the police detective or reifying the justness of the legal system, these novels articulate a vision of crime and justice outside of the boundaries of law and policing, one markedly different from the “detective” genre Eliot credits Collins with founding.

Alternative Visions Of Crime And Community In Wilkie Collins' The Woman In White And The Moonstone

When T. S. Eliot described Wilkie Collins’ The Moonstone (1868) as the “first and greatest of English detective novels” (413), he could not have predicted the number of writers who would take issue with his brief phrase. While some have embraced Eliot’s adjectives (Bisla; Hennelly), others have critiqued the “first” and “greatest” descriptors, identifying Collins’ predecessors (Duncan; Klimaszewski), and contemporaries who offer The Moonstone some competition for the title of “greatest” (Smillie; Thomas). Still others have taken issue with defining the novel as “English,” due to its anti-Imperialist critiques (Narayan; Roy). Following in the footsteps of scholars such as Tamar Heller and D. A. Miller, the descriptor I choose to trouble in this essay is “detective.” Though The Moonstone inarguably contains a detective character, and a complex mystery that is indeed solved through detection, I argue that, especially when viewed in conjunction with Collins’ earlier novel The Woman in White (1859), Collins should be understood not as establishing the conventions of the detective novel to come, but as working against the tide of a developing genre which became increasingly police- and law-focused. Rather than valorizing the police detective or reifying the justness of the legal system, these novels articulate a vision of crime and justice outside of the boundaries of law and policing, one markedly different from the “detective” genre Eliot credits Collins with founding.

Waldo's Beautiful Things: Possession and Possessing in Otto Preminger's Laura

Despite its highly subjectivised title, Laura – Otto Preminger's dazzling 1944 noir classic – is, according to this article, a film not so much about persons as things. And what spectacularly beautiful things Laura proffers: exquisite objets d'art, chic fashion, striking design. All of which points to a certain psychic condition that underpins Laura: namely, fetishism. Of course, the fetish nonpareil in the film is Laura herself; she is the not so ‘obscure object of desire’ for all and sundry, possessing everyone in the film, and, in turn, being treated by those possessed, as a possession herself. Though the nature of these sorts of possessory regimes differs dramatically, being contingent upon the psychic profile of the possessor: love interest Shelby Carpenter, police detective Mark McPherson and wealthy mentor, Waldo Lydecker. This article will explore Laura's competing possessory regimes, utilising psychoanalytic concepts such as hysteria, repetition compulsion and the death drive, as well as fetishism and sado-masochism to unpack this vivid filmic representation of the ‘Law of Desire’ as a desire for what is, here, law's objet petit a – feminine sexuality itself.

The Thin Blue Line

Despite the emphasis on the utter ubiquity of the underworld in the syndicate picture, one of the ironies of the subgenre is a certain “surplus of the law” in the chimerical shape of the organization. From this perspective, the rogue cop film constitutes a dialectical response to the totalitarian disposition of the syndicate picture. In a prototypical rogue cop film like Where the Sidewalk Ends, the problem represented by the syndicate is located in the protagonist’s unresolved relationship to his dead father, but in The Big Heat (1953) police detective Dave Bannion must defend the family and everything it represents--the ’50s suburban American Dream--against the violence-backed interests of the mob. If other working-class cops such as Chris Carmody in Rogue Cop (1954) are driven by sex, Webb Garwood in The Prowler (1951) and Barney Nolan in Shield for Murder (1954) are motivated by the desire for sex and money. In both The Prowler and Shield for Murder, the law of capital returns with the force of the repressed, and the bad cop becomes an especially perverted instance of possessive individualism.

Babylon Berlin: Media, Spectacle, and History

Babylon Berlin (henceforth BB) premiered in Germany on the pay channel Sky TV in October 2017 and in the United States on the streaming service Netflix in January 2018. It is based on Volker Kutscher's series of crime novels set in late Weimar Republic and early Nazi-era Berlin. At its center are the lives and investigations of the laconic and tormented police detective Gereon Rath and his charismatic and irrepressible assistant Charlotte (Lotte) Ritter. In anticipation of the series premiere on public television, marathon screenings took place in 150 cinemas across Germany, where audience members dressed up in 1920s fashion and enjoyed a Currywurst break. Its viewership in the Federal Republic was topped only by the global fantasy behemoth Game of Thrones. The series is clearly modeled on American series such as Mad Men (2007–2015) and The Wire (2002–2008) as it unfolds a complex web of characters and subplots with loving attention to the history and fashions of the time. Indeed, this collaboration of seasoned directors Tom Tykwer, Achim von Borries, and Henk Handloegten is the most expensive German TV series to date. The fact that BB premiered on pay TV while having been largely produced with public funds drew some ire. German reviewers questioned both the circumstances of its production and its creative ambition. While Der Spiegel called it “a masterpiece,” one much debated blog review went so far as to call it “pure crap,” which neither reflected historical truth nor carried artistic merit. Many critics faulted the series for trading in postcard clichés and creating a 1920s “Berlin Disneyland.” The weekly Die Zeit complained that there was a little too much cute dialect, such as “icke” and “kiek ma,” which made the critic sometimes feel like wiping the dirt makeup off the proletarian faces. (And indeed, one of the numerous intertexts of this series are Heinrich Zille's unflinching depictions of proletarian misery.)

Secondary traumatic stress in police detective officers dealing with complainants of sexual crimes

The present study aimed to investigate the relationship between exposure to traumatised complainants and secondary traumatic stress. It also established the occurrence of secondary traumatic stress and the degree to which police detective officers reported secondary traumatic stress symptoms. Data were obtained on 51 police detective officers working in the Family Violence, Child Protection and Sexual Offences unit of the South African Police Service. A quantitative, correlational research design was employed to achieve the aim of the study. The sample was obtained using a combination of convenience and purposive sampling techniques. The majority of police detective officers reported some degree of secondary traumatic stress symptoms as they are frequently exposed to traumatised complainants. No significant statistical relationship was found between exposure to traumatised complainants and secondary traumatic stress. Nonetheless, there was a statistically significant relationship between the type of crime and secondary traumatic stress among the police detective officers in the Family Violence, Child Protection and Sexual Offences unit of the South African Police Service unit. Future research should investigate other pivotal risks and protective factors, such as environmental factors and personal factors that may have an impact on the development of secondary traumatic stress in the police detective officers.

What makes a successful corporate investigator

Purpose The purpose of this study is to identify the attributes – skills, education and qualifications – required to be a contemporary corporate investigator. Design/methodology/approach To address heretofore unexplored areas in the literature, this study used data collected from semi-structured interviews with 33 corporate investigators in Australia. Findings This paper highlights the complexities that surround corporate investigations and identifies nine attributes critical for investigative success. The findings identify some commonalities with police–detective skills and suggest that the corporate investigator needs the skills of an accountant and a lawyer to complement these investigative skills. Originality/value Studies of private investigators are rare as such; therefore, this paper fills a gap in academic literature by examining the skills necessary to conduct private investigations of corporate and white-collar crime.

First Left, Guv? Mapping the Class-encoded Agency of Commercial Television's Spy-cop Archetype, 1967–78

This article examines depictions of class-encoded agency in the English spy operative and police detective protagonists that appeared on commercial television during the late 1960s and 1970s. Its purpose is to discover connections between constructions of this agency and class-based discourses relating to what Michael Kenny (1995) has termed the ‘first New Left’ (1956–62). The focus of attention is The Sweeney's DI Jack Regan (John Thaw), the most recognisable and fluent expression of the male ‘anti-hero’ archetype in question; but in order to frame an analysis that deals with interrelationships at the level of metanarrative, the article also traces a process of genre interconnection and development. Considerations of class in series such as The Sweeney (ITV, 1975–8), Callan (ITV, 1967–72) and Special Branch (ITV, 1969–74) tend to offer meaning along the lines drawn by the likes of E. P. Thompson, Raymond Williams and Richard Hoggart, as well as other figures associated with the first New Left. The article proposes that key first New Left themes – working-class men finding ‘voice’; empiricism/theory binaries; and discourses of Americanisation and anti-Americanism – not only provide a historical/contextual lens through which to view class-encoded agency, but also constitute a mechanism through which it is expressed.