Captive Images examines the law's treatment of photographic evidence and uses it to investigate the relationship between law, image and fantasy. Based around the scholarly examination of a bank robbery, in which a surveillance camera captures the robbery in progress, Katherine Biber draws upon critical writing from psychoanalysis, postcolonialism, art, law, literature and feminism to 'read' this crime, its texts and its images.

The result is an interdisciplinary study of crime that unfolds a compelling narrative about race relations, national identity and fear.

This...

Captive Images examines the law's treatment of photographic evidence and uses it to investigate the relationship between law, image and fantasy. Based around the scholarly examination of a bank robbery, in which a surveillance camera captures the robbery in progress, Katherine Biber draws upon critical writing from psychoanalysis, postcolonialism, art, law, literature and feminism to 'read' this crime, its texts and its images.

The result is an interdisciplinary study of crime that unfolds a compelling narrative about race relations, national identity and fear.

This...

This collection explores the stakes, risks and opportunities invoked in opening and exploring law s archive and re-examining law s evidence. It draws together work exploring how evidence is used or mis-used during the legal process, and re-used after the law s work has concluded by engaging with ethical, aesthetic or emotional dimensions of using law s evidence. Within socio-legal discourse, the move towards open justice has emerged concurrently with a much broader cultural sensibility, one that has been called the "archival turn" (Ann Laura Stoler), the "archival impulse" (Hal Foster) and...

This book investigates what happens to criminal evidence after the conclusion of legal proceedings. During the criminal trial, evidentiary material is tightly-regulated; it is formally regarded as part of the court record, and subject to the rules of evidence and criminal procedure. However, these rules and procedures cannot govern or control this material after proceedings have ended. In its afterlife, criminal evidence whether it is photographic or video evidence, private diaries and correspondence, weapons, physical objects, or forensic data continues to proliferate in cultural...