By the same authors

Asylum Seekers and Moving Images: walking, sensorial encounters in visual criminology

Research output: Chapter in Book/Report/Conference proceedingChapter

Standard

Asylum Seekers and Moving Images: walking, sensorial encounters in visual criminology. / O'Neill, Margaret.

Handbook of Visual Criminology. ed. / Eamonn Carrabine; Michelle Brown. 2017. p. 389-403.

Research output: Chapter in Book/Report/Conference proceedingChapter

Harvard

O'Neill, M 2017, Asylum Seekers and Moving Images: walking, sensorial encounters in visual criminology. in E Carrabine & M Brown (eds), Handbook of Visual Criminology. pp. 389-403.

APA

O'Neill, M. (2017). Asylum Seekers and Moving Images: walking, sensorial encounters in visual criminology. In E. Carrabine, & M. Brown (Eds.), Handbook of Visual Criminology (pp. 389-403)

Vancouver

O'Neill M. Asylum Seekers and Moving Images: walking, sensorial encounters in visual criminology. In Carrabine E, Brown M, editors, Handbook of Visual Criminology. 2017. p. 389-403

Author

O'Neill, Margaret. / Asylum Seekers and Moving Images: walking, sensorial encounters in visual criminology. Handbook of Visual Criminology. editor / Eamonn Carrabine ; Michelle Brown. 2017. pp. 389-403

Bibtex - Download

@inbook{787abce3d8084552aec9de8e96471c3e,
title = "Asylum Seekers and Moving Images: walking, sensorial encounters in visual criminology",
abstract = "In this chapter I will discuss the transformative role and power of visual criminology by sharing and discussing research undertaken with people seeking asylum to the UK and other parts of Europe. The chapter undertakes a critical recovery of the participants narratives of exile, displacement and belonging, their visual and arts based work, as well as work conducted by refugee arts organisations, notably the work of Counterpoints Arts and film makers –on issues surrounding borders, risk and belonging. This work is situated in the context of the history and significance of the visual to criminology and suggests that the visual and visual culture is central to deepen and enlarge our {\textquoteleft}understandings of crime harm and control{\textquoteright} but also our criminological imagination towards a radical democratic imaginary. ",
author = "Margaret O'Neill",
year = "2017",
month = jun,
day = "21",
language = "English",
pages = "389--403",
editor = "Carrabine, {Eamonn } and Michelle Brown",
booktitle = "Handbook of Visual Criminology",

}

RIS (suitable for import to EndNote) - Download

TY - CHAP

T1 - Asylum Seekers and Moving Images: walking, sensorial encounters in visual criminology

AU - O'Neill, Margaret

PY - 2017/6/21

Y1 - 2017/6/21

N2 - In this chapter I will discuss the transformative role and power of visual criminology by sharing and discussing research undertaken with people seeking asylum to the UK and other parts of Europe. The chapter undertakes a critical recovery of the participants narratives of exile, displacement and belonging, their visual and arts based work, as well as work conducted by refugee arts organisations, notably the work of Counterpoints Arts and film makers –on issues surrounding borders, risk and belonging. This work is situated in the context of the history and significance of the visual to criminology and suggests that the visual and visual culture is central to deepen and enlarge our ‘understandings of crime harm and control’ but also our criminological imagination towards a radical democratic imaginary.

AB - In this chapter I will discuss the transformative role and power of visual criminology by sharing and discussing research undertaken with people seeking asylum to the UK and other parts of Europe. The chapter undertakes a critical recovery of the participants narratives of exile, displacement and belonging, their visual and arts based work, as well as work conducted by refugee arts organisations, notably the work of Counterpoints Arts and film makers –on issues surrounding borders, risk and belonging. This work is situated in the context of the history and significance of the visual to criminology and suggests that the visual and visual culture is central to deepen and enlarge our ‘understandings of crime harm and control’ but also our criminological imagination towards a radical democratic imaginary.

M3 - Chapter

SP - 389

EP - 403

BT - Handbook of Visual Criminology

A2 - Carrabine, Eamonn

A2 - Brown, Michelle

ER -