Karla Homolka has proven to be a figure of enduring interest to the public and media for the last 20 years. However, despite the widespread Canadian and international public commentary and media frenzy that has encircled this case, Homolka herself remains an enigma to most who write about her. In contrast to much of the contemporary discussion on this case, this book offers a comprehensive and detailed examination of the legal, public and media understandings and explanations of Homolka’s criminality. Drawing from multiple fields of study and varied bodies of critical literature, the book uses Homolka as an object lesson to interrogate some of the narratives and conceptualizations of ‘violent women’, the problematic normative constructions of womanhood and ‘acceptable femininity’, leniency in sentencing, taboo and disgust, and questions of remorse. The authors address broad questions about how women convicted of violence are typically constructed across four sites: the courts; the academy; the mainstream media; and public discourse. This unique text is extremely important for feminist criminology and socio-legal studies, offering the first comprehensive academic effort to engage in dialogue about this important and fascinating case.

"Kofman discusses various facets of Freud's attitudes toward women in his early years--his relation to his parents, the crystallization and development of his personal myths, his surprisingly liberal views in respect to certain independent women of his acquaintance, his thoughts on the mythic power of the Mother and on the putatively feminine side of his own nature. Then, by means of forceful new readings of "On Narcissism," "Femininity," and other works, she reveals that in his writings on women, Freud consistently alludes to women's menace, at times expressing fascination with their power, at times betraying panic. Kofman seeks to demonstrate that Freud in his later years was unable to see past the "idée fixe" of penis envy; his earlier receptivity toward women was overcome entirely by his need to argue with relentless illogic the inescapable, biologically determined inferiority of women."--Back cover.

Violent women in cinema pose an exciting challenge to spectators, overturning ideas of 'typical' feminine subjectivity. This book explores the representation of homicidal women in contemporary art and independent cinema. Examining narrative, style and spectatorship, Loreck investigates the power of art cinema to depict transgressive femininity.

This textbook takes a gender inclusive and intersectional feminist approach to examining key topics related to gender, crime and justice. It provides an overview and critical discussion of contemporary issues and research in this area suitable for use in undergraduate and postgraduate degree modules. A key feature of the book is its use of films, television series and documentaries to illustrate the concepts and findings from criminological research on gender, crime and justice. After outlining the meaning of gender and the perspective of intersectional feminism, it has chapters focused on interpersonal and sexual violence, sex work and the night-time economy, street crime, crimes of the powerful, policing and the courts, prison and community penalties and a final chapter on extreme punishment and abolitionist futures. It speaks to students and academics in criminology, sociology and gender studies.

Madness, Violence, and Power: A Critical Collection disengages from the common forms of discussion about violence related to mental health service users and survivors which position those users or survivors as more likely to enact violence or become victims of violence. Instead, this book seeks to broaden understandings of violence manifest in the lives of mental health service users/survivors, ‘push’ current considerations to explore the impacts of systems and institutions that manage ‘abnormality’, and to create and foster space to explore the role of our own communities in justice and accountability dialogues. This critical collection constitutes an integral contribution to critical scholarship on violence and mental illness by addressing a gap in the existing literature by broadening the “violence lens,” and inviting an interdisciplinary conversation that is not narrowly biomedical and neuro-scientific.

?Crack shot.? ?Enigma woman.? ?Good with ponies and pistols.? ?A much-married woman.? ø What if such an unconventional woman?and the press unanimously agreed that Nellie May Madison was indeed unconventional?were to get away with murder? Shortly after her husband?s bullet-riddled body was found in the couple?s Burbank apartment, police issued an all-points bulletin for the ?beautiful, dark-haired widow.? The ensuing drama unfolded with all the strange twists and turns of a noir crime novel.øøøøøø ø In this intriguing cultural history, Kathleen A. Cairns tells the true tale of the first woman sentenced to death in California, Nellie May Madison. Her story offers a glimpse into law and disorder in 1930s Los Angeles while bringing to life a remarkable character whose plight reflects on the status of woman, the workings of the media and the judiciary system, and the stratification of society in her time. An intriguing cultural history, Cairns?s re-creation of the case from murder to trial to aftermath casts an eye forward to our own love-hate affair with celebrity crimes and our abiding ambivalence about domestic violence abuse as a defense for murder.

Interdisciplinary Essays on Monsters and the Monstrous analyses and explores the enduring influence and imagery of monsters and the monstrous on human societies, and from a unique interdisciplinary scope tackles the critical question: when faced with an existential threat, what can we do?