Crime theory
Criminology that is based on movies shows the modern analysis of the crime theory and its description in the Hollywood movies. The main aim of this topic is to make the crime theory pleasurable and known while reviewing the criminology in the matter. Accepting the power of images to prepare and shape the way we think while given the huge stress on emotional features on the movies helps the readers explore the contrast between the academic and the popular criminology (Santos, 2012).
Based on the movie Crime theory and popular culture, Criminology is the hard work in the culture and culture becomes the hard task based on criminology (Rafter & Brown, 2011). This shows how the crime theory tends to reject cultural description of crime though it is the huge public position in which the matter about crime occurs. Criminologists who use movies as a criterion for discussion fail to theorize the connection of academic and the scholarly projects. Because popular cultures dialogue lacks the crime theory for understanding crime, it recognizes that crime plays a major role in the public awareness and that crime movies address many cultural fears unavailable in the scientific writing. By showing the experiences that cause criminality, movies reveal how the values and feelings shape the criminal behavior and as an ensuing policy (Rafter & Brown, 2011).
Rafter and Brown argues that criminology can connect the gap between academic studies, culture and force criminologists to accept the movie as a powerful resource of culture that needs to be rapidly understood and theorized. This change can improve understanding of the founded theories but the criminology has the ability to advance criminology borders to enable questions about the happening of the criminology (Rafter & Brown, 2011).
Many chapters in the movie are chronologically prepared to the theoretical advancements and focuses on specific criminology theory as a main illustration of the movie. Each chapter illustrates the theory’s main points and describes the social approach that they were originally developed, and give a historical approach of the theory’s development. The outline of the chosen movie gives the readers a common narrative before an example shows and increases the theory aspects. Reviews draws upon the others while similar movies show the ways in which they contribute to the growth or expansion of a specific theoretical approach. The author’s intention in the movie is to show the main structure and format of the film. From different approaches depending on the theory and the movie review, the authors of the movie urges the readers to question, “How explanations of crime generated by popular culture coincide with those of formal criminology (Rafter & Brown, 2011).”
Rational choice theory as described in the movie is the oldest criminology approach and starts the discussion of the movie’s most dependable explanations of the criminal behavior and the main actor makes a calculated choice to engage in the crime. Billy the definitive movie’s character demonstrates the cost and the benefits of the crime. The central character, Insurance salesperson, Walter, weighs pleasure based on man and woman against the interests of life of other people. In choosing crime and self-awareness, the significance of the classical theory makes him punished (Rafter & Brown, 2011).
The next chapters focus on the people’s failings to explain criminality while reviewing the biological theories and the psychological approaches. The movie depicts biological theories, as camera-friendly. Frankenstein shows a stunning analysis of the criminal structure including the servant with a hump and the offender who is a monster. The chapter shows the power of the moviemaking to avoid reductionism and illustrates how the criminal behavior can be a product of complex psychological factors. However, many sociologists analyze biological and psychological illustrations of criminal behaviors, while these theories address the issues that sociology cannot and creates a connection directory of the movie to help fill a gap in the criminology text (Rafter & Brown, 2011).
The other chapters of the movie assess the criminological theories and the criminal manners based on social factors. Chapter 5 shows the social incompetence theory’s focus with the cities and the neighborhood influences. The taxi driver depicts both the theory’s interest in the city setting and the immersive research methods. Specific types of strain theory are in chapter 6 but the focus applies to the review of the complexity of the organizational strain theory. This shows the meaning of crossing the borders between the normative and the socially illegal. Finally, chapter 7 focuses on the social learning theories and the differential connection that has become a movie clip, such as the subculture theories of crime (Rafter & Brown, 2011).
The next section of the book includes the critical approach in criminology and not the admired theory. The author summarizes the critical theories and connects them with excellent and groundbreaking movies, the conflict theory and the feminist criminology. These chapters show the mainstream of criminology’s venerable assumptions and raises questions about how crime becomes social through those in control based on race, class and gender. The final chapter includes the analysis of the life course theory that follows the criminal behavior across the real life. The chapter also views the linked areas of the developmental criminology and resistance. Several movies shows the key points in each and the movie highlights the common interest in crime and the approaches of criminality (Rafter & Brown, 2011)
Conclusion
People may argue on the author’s choice if theoretical and movie connections, but do not get the power of the beauty of it. Therefore, I do not agree with the author, as not all crimes explain one theory, nor the movie can do it. Movies presume more than one approach view that can draw many theoretical approaches which is an achievement that is complex in the scholar publications. Crime theory is unusual analysis of movies and their connection with crimes appears through the field of popular criminology.
Reference
Rafter, N. H., & Brown, M. (2011). Criminology goes to the movies: Crime theory and popular culture. New York: New York University.
Retrieved from: https://www.youtube.com/watch?v=evlOnd88fPo
Santos, R. B. (2012). Crime analysis with crime mapping.
