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 continues to proliferate in cultural contexts. It might be photographic or video evidence, private diaries and correspondence, weapons, physical objects or forensic data, and it arouses the interest of journalists, scholars, curators, writers or artists. Building on a growing cultural interest in criminal archival materials, this book shows how in its afterlife, criminal evidence gives rise to new uses and interpretations, new concepts and questions, many of which are creative and transformative of crime and evidence, and some of which are transgressive, dangerous or insensitive. It takes the judicial principle of open justice – the assumption that justice must be seen to be done – and investigates instances in which we might see too much, too little or from a distorted angle. It centres upon a series of case studies, including those of Lindy Chamberlain and, more recently, Oscar Pistorius, in which criminal evidence has re-appeared outside of the criminal process. Traversing museums, libraries, galleries and other repositories, and drawing on extensive interviews with cultural practitioners and legal professionals, this book probes the legal, ethical, affective and aesthetic implications of the cultural afterlife of evidence.

This open access book addresses the protection of privacy and personality rights in public records, records management, historical sources, and archives; and historical and current access to them in a broad international comparative perspective. Considering the question "can archiving pose a security risk to the protection of sensitive data and human rights?", it analyses data security and presents several significant cases of the misuse of sensitive personal data, such as census data or medical records. It examines archival inflation and the minimisation and reduction of data in public records and archives, including data anonymisation and pseudonymisation, and the risks of deanonymisation and reidentification of persons. The book looks at post-mortem privacy protection, the relationship of the right to know and the right to be forgotten and introduces a specific model of four categories of the right to be forgotten. In its conclusion, the book presents a set of recommendations for archives and records management. Mikulas Ctvrtnik, Ph.D. visiting assistant professor at Charles University in Prague, and assistant professor at Jan Evangelista Purkyne University in Usti nad Labem. Author of several monographs, including Geschichte der Geschichtswissenschaft: Der tschechische Historiker Zdenek Kalista und die Tradition der deutschen Geistesgeschichte published in Germany; his latest book discusses intellectual history in the context of European historiography of the 19th and 20th centuries.

Research Methods in Criminal Justice and Criminology connects key concepts to real field research and practices using contemporary examples and recurring case studies throughout the book that demonstrate how concepts relate to students’ lives. Authors Callie M. Rennison and Timothy C. Hart introduce practical research strategies used in criminal justice to show students how a research question can become a policy that changes or influences criminal justice practices. The book’s student-driven approach addresses both the "why" and the "how" as it covers the research process and focuses on the practical application of data collection and analysis. By demonstrating the variety of ways research can be used, and reinforcing the need to discern quality research, the book prepares students to become critical consumers and ethical producers of research. The Second Edition includes two new case studies woven throughout, and new expert profiles to highlight contemporary topics. Editable PowerPoint slides and a test bank are available to instructors.

Uncut and uncensored, the infamous pre-code Crime Does Not Pay comics are finally collected into a series of archival hardcovers! With brutal, realistic tales focusing on vile criminals, Crime Does Not Pay was one of the most popular comics of the 1940s. The series was a favourite target of Dr. Fredric Wertham and other censors and is partially responsible for the creation of the stifling Comics Code Authority.This collection - featuring every uncensored page from Crime Does Not Pay issues #54 to #57 - is brimming with sharp work by Charles Biro, George Tuska and many more!

A fully authorized, richly illustrated inside look into 50 of Mulder and Scully’s most memorable monster cases When an X-Files fan opens up The X-Files: The Official Archives, they are gaining access—for the ï¬?rst time—to Agents Mulder and Scully’s notes, records, and visual evidence from actual X-File reports. Designed to mimic a collection of FBI case ï¬?les and packed with such items as autopsy reports, mug shots, lab results, handwritten notes, newspaper clippings, pages ripped from antique books on the occult, and security camera printouts, this fully authorized book is the only one of its kind. Detailing the agents’ investigations into 50 cases of cryptids, biological anomalies, and parapsychic phenomena—from the Flukeman to The Great Mutato to Pusher—The X-Files: The Official Archives showcases some of the show’s greatest villains (some dastardly, some just misunderstood), and instructs future agents on how to successfully investigate the paranormal.

"In our last two books Wisconsin's Most Haunted, Vol I & II, we investigated haunted places in Wisconsin. Now we take you out of state to investigate some of the very well-known haunted places like Villisca Axe Murder House, and the Most haunted place on the East Coast called St. Albans Sanatorium. We take you on an inside look with my team, Fox Valley Ghost Hunters and hear from various investigators about their experiences while investigating these haunted locations. We also show you that there is more to investigating, like the little mishaps along the way and what it's like to be a real ghost hunter. From the bottom of the Body Chute, in Waverly Hills we hear a girl's voice say, "Oh God! Oh God!" Something is standing right next to her our investigator, something she could not see. Would she stand her ground or run away. I am not afraid of the dark, I am not afraid of what's in the dark."--Back cover

Bridging the gap between practical crime scene investigation and scientific theory, Crime Scene Forensics: A Scientific Method Approach maintains that crime scene investigations are intensely intellectual exercises that marry scientific and investigative processes. Success in this field requires experience, creative thinking, logic, and the correct application of the science and the scientific method. Emphasizing the necessary thought processes for applying science to the investigation, this text covers: The general scene investigation process, including definitions and philosophy as well as hands-on considerations Archiving the crime scene through photography, sketching, and video Managing the crime scene investigation—the glue that holds the investigation together Searching the crime scene—the logical byproduct of archiving and management Impression/pattern evidence, including fingerprints, bloodstains, footwear impressions, and tire track impressions The biological crime scene and recognizing, collecting, and preserving biological evidence, including forensic entomology and evidence found at bioweapon scenes The fundamental principles of evidence as expressed by the Principle of Divisible Matter and the Locard Exchange Principle: every touch leaves a trace Trace evidence, including glass, paint, and soil Shooting incident scenes, with discussion of bullet paths and gunshot residue The final section examines fire scenes, quality assurance issues, and methods for collecting and preserving various evidence types not covered in other chapters. The delicate balance among logic, science, and investigative activity must be understood in order to successfully work a crime scene. Enhanced by more than 200 color images, this volume provides investigators and students with the tools to grasp these critical concepts, paving an expeditious path to the truth.

Describes how crime scene investigators use physical evidence at a crime scene to help determine details of the crime, and includes three case studies in graphic novel format that were aided by these investigators.

David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example in performance and installation art as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual media and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. It displays an enduring debt to the discursive model of testimony which has so far been insufficiently recognised, and which forms the basis for a new ethical understanding of the forensic. Jones’s analysis brings this methodology to bear upon a strand of contemporary visual activity that has the power to significantly redefine our understandings of the production, analysis and deployment of evidence. Artists examined include Forensic Architecture, Simon Norfolk, Melanie Pullen, Angela Strassheim, John Gerrard, Julian Charrière, Trevor Paglen, Laura Poitras and Sophie Ristelhueber. The book will be of interest to scholars working in art history, visual culture, literary studies, modern languages, photography and critical theory.