Cover

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Title Page, Copyright

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pp. i-iv

Contents

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pp. v-vi

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Introduction: Constructing the Criminal in North America

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pp. vii-xxii

...The images in Figure 1 function as visual substitutes for the human body within practices of criminal identification. The image on the left is of James White, a “hotel and confidence man,” arrested, photo graphed, and included in Thomas Byrnes’s...

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1. Picturing the Criminal: Photography and Criminality in the Nineteenth Century

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pp. 1-30

...The police mug shot has become an icon in contemporary visual culture. The pose, framing, and formal conventions of the image are easily recognized throughout the general public. It is an image that is taken to indicate criminality. Mug shots...

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2. Photographing Fingerprints: Data, Evidence, and Latent Identification

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pp. 31-56

...Speaking at the 1926 International Association of Chiefs of Police convention, J. Edgar Hoover, then the newly appointed director of the Federal Bureau of Investigation (FBI), announced that the Identification Division had passed the million...

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3. The Control of Inscriptions: Standardizing DNA Analysis

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pp. 57-80

...In “Galton’s Regret: Of Types and Individuals,” Paul Rabinow points to a central distinction between fingerprinting and DNA analysis.1 Whereas the former is a phenotypic process, the latter is genotypic. Fingerprinting is based on the external, physical...

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4. Potential Criminality: The Body in the Digital Archive

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pp. 81-105

...In chapter 2, I argued that the specific collaboration of photography and fingerprint identification at the turn of the nineteenth and twentieth centuries produced a new mode of law enforcement exemplified by a new role of the camera. The camera’s...

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5. Visible Criminality: Data Collection, Border Security, and Public Display

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pp. 106-130

...In the introduction to this book, I posed a series of questions regarding the changing nature of visual representation in law enforcement and criminal identification practices from the nineteenth century to the present. I asked, to what extent...

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Acknowledgments

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pp. 131-132

...My interest in police photography developed while I was working on my MA in art history at York University. There I had the pleasure of working with Renate Wickens, Shelley Hornstein, and Brian Gross - kurth, all of whom provided invaluable insight...

Notes

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pp. 133-152

Index

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pp. 153-164

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About the Author

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pp. 165-165

...Jonathan Finn is associate professor of communication studies at Wilfrid Laurier University in Ontario, Canada. His research interests include visual culture, visual communication, and surveillance studies....