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"Carrying ahead the project of cultural criminology, Phillips and
Strobl dare to take seriously that which amuses and entertains
us--and to find in it the most significant of themes. Audiences,
images, ideologies of justice and injustice--all populate the pages
of Comic Book Crime. The result is an analysis as colorful as a
good comic, and as sharp as the point on a superhero's
sword."--Jeff Ferrell, author of Empire of Scrounge Superman,
Batman, Daredevil, and Wonder Woman are iconic cultural figures
that embody values of order, fairness, justice, and retribution.
Comic Book Crime digs deep into these and other celebrated
characters, providing a comprehensive understanding of crime and
justice in contemporary American comic books. This is a world where
justice is delivered, where heroes save ordinary citizens from
certain doom, where evil is easily identified and thwarted by
powers far greater than mere mortals could possess. Nickie Phillips
and Staci Strobl explore these representations and show that comic
books, as a historically important American cultural medium,
participate in both reflecting and shaping an American ideological
identity that is often focused on ideas of the apocalypse, utopia,
retribution, and nationalism. Through an analysis of approximately
200 comic books sold from 2002 to 2010, as well as several years of
immersion in comic book fan culture, Phillips and Strobl reveal the
kinds of themes and plots popular comics feature in a post-9/11
context. They discuss heroes' calculations of "deathworthiness," or
who should be killed in meting out justice, and how these judgments
have as much to do with the hero's character as they do with the
actions of the villains. This fascinating volume also analyzes how
class, race, ethnicity, gender, and sexual orientation are used to
construct difference for both the heroes and the villains in ways
that are both conservative and progressive. Engaging, sharp, and
insightful, Comic Book Crime is a fresh take on the very meaning of
truth, justice, and the American way.Nickie D. Phillipsis Associate
Professor in the Sociology and Criminal Justice Department at St.
Francis College in Brooklyn, NY.Staci Stroblis Associate Professor
in the Department of Law, Police Science and Criminal Justice
Administration at John Jay College of Criminal Justice.In
theAlternative Criminologyseries
Superman, Batman, Daredevil, and Wonder Woman are iconic cultural
figures that embody values of order, fairness, justice, and
retribution. Comic Book Crime digs deep into these and other
celebrated characters, providing a comprehensive understanding of
crime and justice in contemporary American comic books. This is a
world where justice is delivered, where heroes save ordinary
citizens from certain doom, where evil is easily identified and
thwarted by powers far greater than mere mortals could possess.
Nickie Phillips and Staci Strobl explore these representations and
show that comic books, as a historically important American
cultural medium, participate in both reflecting and shaping an
American ideological identity that is often focused on ideas of the
apocalypse, utopia, retribution, and nationalism. Through an
analysis of approximately 200 comic books sold from 2002 to 2010,
as well as several years of immersion in comic book fan culture,
Phillips and Strobl reveal the kinds of themes and plots popular
comics feature in a post-9/11 context. They discuss heroes'
calculations of "deathworthiness," or who should be killed in
meting out justice, and how these judgments have as much to do with
the hero's character as they do with the actions of the villains.
This fascinating volume also analyzes how class, race, ethnicity,
gender, and sexual orientation are used to construct difference for
both the heroes and the villains in ways that are both conservative
and progressive. Engaging, sharp, and insightful, Comic Book Crime
is a fresh take on the very meaning of truth, justice, and the
American way.
From its origins in academic discourse in the 1970s to our
collective imagination today, the concept of "rape culture" has
resonated in a variety of spheres, including television, gaming,
comic book culture, and college campuses. Beyond Blurred Lines
traces ways that sexual violence is collectively processed,
mediated, negotiated, and contested by exploring public reactions
to high-profile incidents and rape narratives in popular culture.
The concept of rape culture was initially embraced in popular media
- mass media, social media, and popular culture - and contributed
to a social understanding of sexual violence that mirrored feminist
concerns about the persistence of rape myths and victim-blaming.
However, it was later challenged by skeptics who framed the concept
as a moral panic. Nickie D. Phillips documents how the conversation
shifted from substantiating claims of a rape culture toward growing
scrutiny of the prevalence of sexual assault on college campuses.
This, in turn, renewed attention toward false allegations, and away
from how college enforcement policies fail victims to how they
endanger accused young men. Ultimately, she successfully lends
insight into how the debates around rape culture, including
microaggressions, gendered harassment and so-called political
correctness, inform our collective imaginations and shape our
attitudes toward criminal justice and policy responses to sexual
violence.
From its origins in academic discourse in the 1970s to our
collective imagination today, the concept of "rape culture" has
resonated in a variety of spheres, including television, gaming,
comic book culture, and college campuses. Beyond Blurred Lines
traces ways that sexual violence is collectively processed,
mediated, negotiated, and contested by exploring public reactions
to high-profile incidents and rape narratives in popular culture.
The concept of rape culture was initially embraced in popular media
- mass media, social media, and popular culture - and contributed
to a social understanding of sexual violence that mirrored feminist
concerns about the persistence of rape myths and victim-blaming.
However, it was later challenged by skeptics who framed the concept
as a moral panic. Nickie D. Phillips documents how the conversation
shifted from substantiating claims of a rape culture toward growing
scrutiny of the prevalence of sexual assault on college campuses.
This, in turn, renewed attention toward false allegations, and away
from how college enforcement policies fail victims to how they
endanger accused young men. Ultimately, she successfully lends
insight into how the debates around rape culture, including
microaggressions, gendered harassment and so-called political
correctness, inform our collective imaginations and shape our
attitudes toward criminal justice and policy responses to sexual
violence.
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