Cultural Criminology, a relatively new strand of Criminology emerged in the mid-1990s. It aims to place the understanding of crime and crime control in the context of contemporary culture (Hayward & Young, 2004). Cultural criminology departs from more traditional approaches of criminology however, draws on Subcultural Theory initially developed by the Chicago School. Using an ethnographic approach, the Chicago School highlighted that deviant behaviour is a product of social structures and one’s environment. Expanding on this work, The Centre for Contemporary Cultural Studies analysed the way in which various working class youth subcultures such as Mods and Rockers emerged in the early to mid-1960s. Members engaged in a collective way of life, forming a homogeneous attitude of deviance and criminality. The concept of subcultures indicates a; ‘network of symbols, meanings and knowledge’, with certain groups holding values which are favourable to crime (Ferrell, 1995).
‘Cultural criminology is a distinct, theoretical, methodological and interventionist approach’ to the analysis of crime (Hayward, 2012). Cultural criminology addresses criminalization and crime from a variety of new standpoints and academic disciplines. When considering cultural criminology, ethnographic approaches are the most suitable to enable an understanding of people in the context of their cultures. Crimes and criminal acts are too often misrepresented in National Statistics and Police Reports therefore, a criminological verstehen provides an alternative, more immersive insight into crime. Verstehen, meaning “to understand”, highlights a form of ‘participatory examination’ of various social subcultures, allowing a ‘degree of sympathetic understanding of the researcher’ (Weber, 1978). According to Ferrell (1997) direct field research inside the criminal world allows for; ‘partial immersion, providing insight into various experiences’. From this standpoint, Ferrell (1997) conducted direct field research in the hip hop graffiti subculture of New York City, allowing full immersion into the underground dynamics of the graffiti “crew”. Although there are notable legal and methodological issues surrounding direct participation in criminal activities, ‘obeying the law may present as much of a problem as breaking it’, as the researcher is shut out of ‘all kinds of field contacts and social situations’ (Ferrell, 1997). Through his research Ferrell (1997) identified adrenaline and excitement as the main motivation for graffiti artists, whilst previous research cites boredom as the cause. Perhaps indicating that true and accurate representation of crimes in the context of culture need to be carried out through subjective experience of the subculture in question.
Banksy’s Kissing Coppers, one of graffiti’s most renowned artists, first appeared on the Prince Albert Pub, Brighton in 2004. The piece depicts two male police officers kissing, the piece is left open to interpretation. However, it is important to note Banksy’s use of policemen, as often they are the service cracking down on such forms of vandalism (www.theartstory.org). Consequently highlighting the conflict between criminals and crime enforcers.
However, the practice of ‘criminological verstehen’ and direct field research has been greatly criticised due to the aiding and abetting nature of direct field research. There are significant questions surrounding whether analysis of such criminal behaviour may be seen as socially enabling delinquents in society (Ferrell, 1997). Further criticism of criminal verstehen comes from the assumption that there is just one ‘criminal culture’. However, experiences of crime are shaped differently by ‘larger structures of social class, gender, age and ethnicity’. Ferrell (1997) highlights the imperative need for working towards ‘particular forms of criminological verstehen more attuned to differences’ as cultures vary greatly.
Contemporary cultural criminology investigates the symbiotic relationship between criminal and cultural processes; they ‘continually interweave along a continuum of marginality, illegality and public display’ (Ferrell, 1995). In the context of today’s society, it is important to acknowledge the role of contemporary media when considering cultural criminology. According to Ferrell (1995); ‘Mediated images of crime wash over us in waves…helping shape public perceptions and policies’. The mass media plays a crucial role in filtering public knowledge, consequently shaping societal opinion on a criminal act. This is demonstrated in the mass media’s 2012 coverage of the conviction of Russian feminist punk band, Pussy Riot. Following their politically motivated performance inside the Cathedral of Christ the Saviour, Moscow, three members of the band were convicted for ‘hooliganism motivated by religious hatred’. This prompted public outrage across the world predominately fuelled by Western media coverage which was overwhelmingly supportive of the convicted members, constructing them as ‘symbols of dissent’ (Seal, 2013). The sensationalist and politically motivated news articles of both The New Yorker and The Guardian successfully aided a shift in public opinion on something which was fundamentally still a crime. Therefore, indicating when examining crimes, it is important to place them in the context of their contemporary culture, as the mass media now plays an influential role in what constitutes a crime in public opinion.
Furthermore, according to Seal (2013); Pussy Riot’s ‘Criminalization for a cultural performance which employed imagery, style and symbolic meaning’ is the ideal case for cultural criminologists. The condemnation of Pussy Riot’s artistic performance within Russian society highlights the continual reconstruction of culture as a criminal offence, commonly found within cultural criminology (Ferrell, 1995). Everyday cultural activities surrounding music, art and fashion are ‘recast as crime’, Ferrell (1995) highlighted that the rise of the punk music scene in Great Britain ‘incorporated both controversy and
criminalization’. The Sex Pistols came under fire following their appearance on Bill Grundy’s programme “Today” in which a number of profanities were said on live TV. The media’s portrayal of the Sex Pistols as “cult filth’, enabled a criminalization of popular culture and the subcultures of the punk scene. Therefore, indicating the interwoven nature of culture and crime.
To conclude, Ferrell (1995) cited that in this ‘new cultural context, popular music becomes a catalyst for youthful disobedience and visual art is transformed into a lascivious crime against social decency’. It has become evident that the role of the mass media is imperative to the reshaped portrayal of culture as crime. Whilst analysing criminal behaviour through more immersive method such as direct field research, allows for greater insight into criminal behaviours and motives.