Feature drama starring Minnie Driver as a schoolteacher intent on staging a rock opera version of 'The Tempest'. It is the summer of 1976, and Viv May (Driver) is an enthusiastic young drama teacher at a Swansea secondary school. With her diaphanous dresses and progressive attitudes, former actress Viv has her enemies amongst the school's more conservative staff, and has set her sights on creating a high-octane fusion of Shakespeare and David Bowie for this year's school performance. Between rehearsals her adolescent students pass the hot summer days lounging around the lido, fighting and falling in love, as their future beyond the safe confines of school life looms ahead of them.

In the 1880s photographers and sports enthusiasts confidently declared the end of dead heats in sporting competition. Reflecting a broader social belief in technology, proponents of the camera stressed that the device could provide definitive proof of who won and who lost. Yet despite this remedy for the inadequate human eye, competitive races between horses, boats, and bicycles ended too close to call a sole champion. More than a century later, when cameras can subdivide the second into ten-thousandths and beyond, athletes continue to cross the finish line in ties. In this fascinating journey through the history of the photo-finish in sports, Jonathan Finn shows how innovation was animated by a drive for ever more precise tools and a quest for perfect measurement. As he traces the technological developments inspired by this crusade - from the evolution of the still camera to movie cameras, ultimately leading to complex contemporary photo-finish systems - Finn uncovers the social implications of adopting and contesting the photograph as evidence in sport. At every turn empirical obsession intersects with the unpredictability of sports, creating a paradox wherein the precision offered by photo-finish technology far exceeds the realities of human performance and its measurement. Separating athletes by the hundredth, thousandth, or ten-thousandth of a second is often a fiction that comes with significant material and cultural implications. A lively biography of a critical technology, Beyond the Finish Line illuminates the cultural role of the photo-finish in win-at-all-costs culture and warn that in our pursuit for precision we may threaten the human element of sport that galvanizes mere spectators into fans.

At the beginning of the twentieth century, criminals, both alleged and convicted, were routinely photographed and fingerprinted-and these visual representations of their criminal nature were archived for possible future use. At the beginning of the twenty-first century, a plethora of new tools-biometrics, DNA analysis, digital imagery, and computer databases-similarly provide new ways for representing the criminal.

"Capturing the Criminal Image" traces how the act of representing-and watching-is central to modern law enforcement. Jonathan Finn analyzes the development of police photography in the nineteenth century to foreground a critique of three identification practices that are fundamental to current police work: fingerprinting, DNA analysis, and surveillance programs and databases. He shows these practices at work by examining specific police and border-security programs, including several that were established by the U.S. government after the terrorist attacks of September 11, 2001. Contemporary law enforcement practices, he argues, position the body as something that is potentially criminal.

As Finn reveals, the collection and archiving of identification data-which consist today of much more than photographs or fingerprints-reflect a reconceptualization of the body itself. And once archived, identification data can be interpreted and reinterpreted according to highly mutable and sometimes dubious conceptions of crime and criminality.