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Journal articles on the topic 'True crime'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Intra, Giovanni. "True Crime." Afterimage 25, no. 5 (1998): 12–14. http://dx.doi.org/10.1525/aft.1998.25.5.12.

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Hd., J., and Cheryl Russel. "True Crime." Population (French Edition) 51, no. 1 (1996): 241. http://dx.doi.org/10.2307/1534681.

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3

Beyer, Charlotte. "True Crime." American, British and Canadian Studies Journal 28, no. 1 (2017): 131–32. http://dx.doi.org/10.1515/abcsj-2017-0009.

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Abstract This poem is a creative response to contemporary true crime narratives about baby farming in Victorian times, namely Alison Rattle and Allison Vale’s The Woman Who Murdered Babies for Money: The Story of Amelia Dyer (London: André Deutsch, 2011); and the TV documentary, “Amelia Dyer: Martina Cole’s Lady Killers.”

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4

Peters, Fiona. "True Crime Narratives." Crime Fiction Studies 1, no. 1 (2020): 23–40. http://dx.doi.org/10.3366/cfs.2020.0005.

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This article investigates the contemporary fascination with true crime narratives, an subject which is fast becoming a central area of interest in crime fiction studies. As the overarching genre of crime fiction itself becomes the most read literature genre, not to mention its growing popularity in other popular cultural mediums – TV, film, documentary, podcast, blogs, etc., true crime – which has always been a popular sub-genre – is arguably moving centre stage aligned to our recent obsession with the real life figure of the serial killer. The usual discussions of both individual and collecti

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5

Stewart, Victoria. "True Crime and Contemporary Crime Fiction." Crime Fiction Studies 3, no. 2 (2022): 159–74. http://dx.doi.org/10.3366/cfs.2022.0072.

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The incorporation of thematic and formal references to true-crime texts in recent British and Irish crime novels shows fiction authors acknowledging that they share an audience with true-crime podcasts, documentaries and books. At the same time, these authors assert the particular contribution that fiction makes to the raising of awareness of both real-world crime and its representations. Examples considered include novels by Ruth Rendell, Denise Mina and Catherine Ryan Howard.

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6

Hughes, Bella. "Murderinos." Digital Literature Review 10, no. 1 (2023): 121–32. http://dx.doi.org/10.33043/dlr.10.1.121-132.

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Consumption of true crime podcasts has shot up in recent years, with a majority of listeners being female. There are many things which might draw women to these pieces of media. Women who previously reported elevated levels of fear of violent crime have taken to viewing true crime as a safety measure, wanting to become educated on the stories of others in an effort to not become victims themselves. Many women report feeling more confident that they would know how to avoid or get out of a dangerous situation after learning the details of previous crimes. Production and consumption of true crime

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7

Hobbs, Simon, and Megan Hoffman. "‘True Crime and…’: The Hybridisation of True Crime Narratives on YouTube." Crime Fiction Studies 3, no. 1 (2022): 26–41. http://dx.doi.org/10.3366/cfs.2022.0058.

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Digital platforms have heralded a renaissance in true crime production and engagement, providing previously marginalised voices with opportunities to challenge longstanding – and often problematic – genre conventions. Whilst significant consideration has been given to professional streaming platforms and aural user-generated mediums such as podcasts, few studies have explored visual user-generated content such as that appearing on YouTube. In order to explore these new but increasingly popular forms, we focus on the videos of Stephanie Soo, Samantha Taylor and Bailey Sarian, who combine true c

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8

Malta, Francisco, and Thiago Barboza. "TRUE CRIME: Era uma vez um crime." AVANCA | CINEMA, no. 14 (January 5, 2024): 501–5. http://dx.doi.org/10.37390/avancacinema.2023.a536.

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9

Viana, Luana, and Carlos Pernisa Júnior. "True Crime em podcasts narrativos:." Revista Eco-Pós 25, no. 3 (2022): 318–39. http://dx.doi.org/10.29146/eco-ps.v25i3.27655.

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O presente artigo tem como objetivo realizar um levantamento do material complementar ao áudio utilizado por podcasts para compreender em que medida ocorre a associação entre o formato de radiojornalismo narrativo em podcasting (Kischinhevsky, 2018) e a adoção de tais complementos. Partindo de um estudo exploratório que conta com um corpus de 77 produções, os dados quantitativos contribuem para a delimitação de um perfil inicial de podcasts nacionais e internacionais que se enquadram na categoria True Crime. Além disso, este trabalho apresenta novas perspectivas a serem investigadas sobre elem

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10

Weintraub, Jennifer, and Kimberly Bernstein. "Identifying and Charging True Perpetrators in Cases of Wrongful Convictions." Wrongful Conviction Law Review 1, no. 2 (2020): 181–225. http://dx.doi.org/10.29173/wclawr22.

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True perpetrators—those who commit crimes that others were wrongfully convicted of—are a danger to society. Left unapprehended, these individuals often continue to commit crimes that could have otherwise been avoided. Despite the risk they pose, only about half of true perpetrators in DNA exoneration cases have been identified. Further, only 50% of those who have been identified have been charged with the wrongful conviction crime(s) they committed. Previous research on wrongful convictions, prosecutorial discretion in charging decisions, and prosecutors’ treatment of post-conviction innocence

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11

Thomas, Laura. "True crime: Heavenly Creatures." Lancet Psychiatry 3, no. 11 (2016): 1027–28. http://dx.doi.org/10.1016/s2215-0366(16)30319-4.

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12

Freeland, Chrystia, and Julia Latynina. "True Crime, Russian-Style." Foreign Policy, no. 122 (January 2001): 84. http://dx.doi.org/10.2307/3183233.

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13

Hd., J. "Russel Cheryl — True crime." Population Vol. 51, no. 1 (1996): 241–42. http://dx.doi.org/10.3917/popu.p1996.51n1.0242.

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14

Kozheko, Anna Vladimirovna, and Zumrud Ilnurovna Mamedova. "Speech portrait of a blogger-narrator of “true crime story” (linguistic and stylistic aspect)." Philology. Issues of Theory and Practice 16, no. 8 (2023): 2643–47. http://dx.doi.org/10.30853/phil20230415.

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The aim of the study is to identify the linguistic and stylistic features of the speech portrait of a blogger leading his blog in the genre of “true crime story”, which is dedicated to the narration of real crimes. The scientific novelty of the study consists in the fact that the linguistic features of this genre are considered in the work for the first time and the specifics of the narrator’s speech portrait in the genre of “true crime story” manifested in the electronic environment is revealed. As a result of the study, it has been found that the speech portrait of a blogger-narrator of “tru

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15

Jáuregui, Carlos, and Luana Viana. "Relatos sonoros de um crime." Revista FAMECOS 29, no. 1 (2022): e41123. http://dx.doi.org/10.15448/1980-3729.2022.1.41123.

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Este trabalho analisa a quarta temporada do podcast Projeto Humanos, tendo como horizonte o uso da categoria de True Crime para a compreensão de produções sonoras brasileiras sobre crimes reais. A abordagem desenvolvida coloca em diálogo a metodologia proposta por Punnett (2018) para a análise textual de produções desse gênero com a noção de radiojornalismo narrativo (KISCHINHEVSKY, 2018). Como resultado, identificamos aspectos enunciativos e narrativos que permitem classificar esse podcast como um exemplar de True Crime e propomos reflexões acerca de particularidades da linguagem radiofônica

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16

Wilson, C. P. "True and True(r) Crime: Cop Shops and Crime Scenes in the 1980s." American Literary History 9, no. 4 (1997): 718–43. http://dx.doi.org/10.1093/alh/9.4.718.

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17

Nickerson, Catherine Ross. "Remembering Women in True Crime." American Book Review 42, no. 5 (2021): 9–10. http://dx.doi.org/10.1353/abr.2021.0076.

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18

Harlow, Michael C. "True Crime: An American Anthology." Journal of Forensic Psychiatry & Psychology 20, no. 4 (2009): 596–97. http://dx.doi.org/10.1080/14789940902826762.

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19

Juszczyk, Karolina, and Czesław Adamiak. "True crime jako forma turystyki." Turystyka Kulturowa 2, no. 127 (2023): 7. http://dx.doi.org/10.62875/tk.v2i127.1384.

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20

Waterman, Stanley. "True exchanges or thought crime?" Political Geography 24, no. 8 (2005): 998–1001. http://dx.doi.org/10.1016/j.polgeo.2005.06.006.

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21

Köpf, Gerhard. "True Crime und Cold Case." NeuroTransmitter 31, no. 12 (2020): 52–55. http://dx.doi.org/10.1007/s15016-020-7602-y.

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22

Trouwborst, Bettina. "kaydanovskiy, haagenrud, volpi «true crime»." tanz 15, no. 4 (2024): 35. http://dx.doi.org/10.5771/1869-7720-2024-4-035.

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23

Brum, Bernardo Demaria Ignácio. "CRIME EM QUADRO: A ESTÉTICA TRUE CRIME E SUA CHEGADA AO BRASIL COM O CASO EVANDRO (2018)." Divers@! 16, no. 1 (2023): 207. http://dx.doi.org/10.5380/diver.v16i1.86723.

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O artigo aborda a consolidação do gênero true crime no Brasil com a terceira temporada do podcast Projetos Humanos e sua adaptação na série documental O Caso Evandro, investigando o interesse crescente pelo gênero do Brasil na forma de produções investigativas. Será traçado um retrospecto desde as narrativas inspiradas por crimes reais de Edgar Allan Poe, livros de não-ficção como A Sangue Frio e os adventos do podcast e das séries de streaming. No caso brasileiro se investigará das crônicas-reportagens de João do Rio, os romances-reportagens de José Louzeiro e os podcasts de Ivan Mizanzuk. Po

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24

Friars, Rachel M., and Jesyka Traynor. "‘Dogged, Insightful, and Humane’: Writing Women’s Lives in Twenty-First-Century True Crime." Crime Fiction Studies 3, no. 1 (2022): 10–25. http://dx.doi.org/10.3366/cfs.2022.0057.

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Although studies have identified women as the primary audience of true crime, women's engagement with the genre is far from a passive one. Women producers of true crime participate in discussions of female victimhood, poverty, and law. They also consider the significance – and complexity – of writing women's lives within a genre like true crime. Our chapter analyses true crime texts by women to interrogate the changing focus of true crime in the twenty-first century and the labour that these authors participate in as they question established narratives of female victimhood. In our case studie

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25

Kumar, TK Vinod. "Mediating influence of crime type on victim satisfaction with police services." International Review of Victimology 24, no. 1 (2017): 99–121. http://dx.doi.org/10.1177/0269758017727344.

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Different crimes have their own unique characteristics. Victim needs and experiences vary across crime types. However, there has been a tendency for the criminal justice system to treat victims as a homogeneous entity and respond to victims of different types of crimes in a routine manner. This is especially true in a developing country like India. This study, using victim survey data from India, examines whether the crime type (property crime or violent crime) has a mediating influence on the relation between the quality of procedure and outcome of police response on the one hand, and victim

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26

Boling, Kelli S. "True crime podcasting: Journalism, justice or entertainment?" Radio Journal:International Studies in Broadcast & Audio Media 17, no. 2 (2019): 161–78. http://dx.doi.org/10.1386/rjao_00003_1.

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This study examines true crime podcasts with a critical/cultural lens to explore how podcasts are impacting the true crime genre, public opinion and the criminal justice system. Four in-depth qualitative interviews with true crime podcast producers offer insight into both the political economy of podcasts and effective audience engagement. Ultimately, this study argues that true crime podcasts are impacting the criminal justice system in unprecedented ways and that the future of this emerging media could challenge both criminal justice and media reform. Practical implications for genre-specifi

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27

Lewiński, Dominik, and Zofia Jagielska. "Fenomen podkastów „true crime”. Przypis do historii medializacji przemocy." Dziennikarstwo i Media 21 (October 15, 2024): 77–95. http://dx.doi.org/10.19195/2028-8322.21.6.

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Artykuł jest próbą zbadania fenomenu podcastów true crime, ze szczególnym uwzględnieniem ich odbiorcy. Przedstawia historię gatunku (true crime) i porównuje go z tradycyjnym kryminałem. W niniejszym artykule podkast opisany został jako podstawowa forma komunikacji true crime, przeciwstawiona zresztą zwykłemu radiu. Aby dotrzeć do motywów odbiorców badanego zjawiska, w artykule opisano wpływ procesu cywilizacyjnego na zmianę instynktów i wewnętrznych imperatywów człowieka. Nacisk położony został na stopniowe zanikanie naturalnej agresji. W porównaniu z teoriami współczesnych b

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28

Yukseloglu, E. Hulya, Itir Tari Comert, Seda Diker Ugras, and Omer Karatas. "A review of crime-scene examination and the forensic investigation process in sexual crimes: the example of Turkey." Forensic Research & Criminology International Journal 8, no. 6 (2020): 228–31. http://dx.doi.org/10.15406/frcij.2020.08.00332.

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The aim of this article is to review crime-scene examination and forensic investigation in sexualcrimes, which have an important place among crimes against humanity. The application of forensic sciences starts at the crime scene, and crime-scene examination and forensic investigation are important in solving sexual-crime cases. During the forensic examination, DNA analysis provides the most significant evidence. Biological evidence, particularly DNA, is of primary importance and is most helpful in sexual-violence cases. Obtaining evidence immediately is indispensible for delivering criminals t

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29

Yardley, Elizabeth, Emma Kelly, and Shona Robinson-Edwards. "Forever trapped in the imaginary of late capitalism? The serialized true crime podcast as a wake-up call in times of criminological slumber." Crime, Media, Culture: An International Journal 15, no. 3 (2018): 503–21. http://dx.doi.org/10.1177/1741659018799375.

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Within this article, we explore the emergence of the serialized true crime podcast through an ultra-realist lens. These representations have become increasingly popular in recent years and appear to embody changing sensibilities towards crime and criminal justice – we critically consider whether serialized true crime podcasts do or could represent a change from the true crime of the past. More importantly, we question the extent to which academic criminology is equipped to engage in critical analysis of this media and address the questions that they raise about crime and society’s response to

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30

Seal, Lizzie. "Fear, Justice, and Modern True Crime." Contemporary Sociology: A Journal of Reviews 51, no. 3 (2022): 192–94. http://dx.doi.org/10.1177/00943061221090769b.

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31

Wilson, Colin. "Reporting true crime: The sociological perspective." Journal of Forensic Psychiatry 4, no. 2 (1993): 201–5. http://dx.doi.org/10.1080/09585189308407970.

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32

Mayr, Andrea. "Chopper: From the Inside: Discourses of the ‘celebrity’ criminal Mark Brandon Read." Language and Literature: International Journal of Stylistics 21, no. 3 (2012): 260–73. http://dx.doi.org/10.1177/0963947012444220.

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Popular culture has been inundated with stories and images of True Crime for a long time, which is testament to people’s enduring fascination with criminals and their deviant actions. In such stories, which present actual cases of notorious crimes in a style that often resembles fiction, criminals are either reviled as monsters or lauded as cultural icons. More recently, popular autobiographical accounts by criminals themselves have begun to emerge within this True Crime genre. Typically self-celebratory in nature, such representations construct a rather glamorized public image of the author.

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33

Smith, Erin A. "Who Didn’t Do It?" Reception: Texts, Readers, Audiences, History 14 (July 1, 2022): 22–41. http://dx.doi.org/10.5325/reception.14.1.0022.

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ABSTRACT David Grann’s Killers of the Flower Moon is a generic hybrid: literary journalism, true crime tale of the Wild West, and whodunit. I argue that the activation of different sets of reader expectations for these genres gives it an extraordinarily powerful political impact. Based on reviews and reader responses on Amazon and Goodreads and on the genre characteristics of the narrative itself, I make the case that Grann satisfies readers’ expectations for formula Westerns and classical detective stories in the first two parts (i.e., solving the crime and arresting the bad guy), only to und

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34

Smolej, Mirka. "Violence in Crime-Appeal Programming and in Crime Statistics." Nordicom Review 32, no. 1 (2011): 59–73. http://dx.doi.org/10.1515/nor-2017-0105.

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Abstract Numerous studies have noted that media representations of violent crime do not correspond to actual levels and features of violence in society. The present article examines whether this is true of the Finnish crime-appeal program Poliisi-TV. In addition, the article identifies similarities and differences in Finnish violence reporting in comparison with international research findings. The data consist of 23 episodes including 67 violence vignettes that are contrasted with statistical data on violence. Violence is highly over-reported in the program. A typical violent crime is an assa

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35

Woodstock, Patrick, and Dan Vena. "Born Queer, Made Evil? Examining ‘Discovery’ and ‘Construction’ as Competing Methodologies of True Crime." Crime Fiction Studies 3, no. 1 (2022): 59–74. http://dx.doi.org/10.3366/cfs.2022.0060.

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In this essay, we argue for the need to go beyond considerations of representation when conceptualising the true crime genre’s relationship to queerness and breach fundamental questions about the form of true crime. We ask: how can true crime works retrace history in a way that problematises rather than reinforces established definitions of ‘deviance,’ and this category’s historical relationship to queerness? To answer these questions, this paper outlines two competing methodologies used by true crime works like Mindhunter and American Horror Story in their respective projects of reexamining t

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36

Zimmerman, Tara. "Crime Junkies: A Case for Studying Information Behavior Surrounding True Crime Podcasts." Proceedings of the Association for Information Science and Technology 61, no. 1 (2024): 715–20. http://dx.doi.org/10.1002/pra2.1085.

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ABSTRACTTrue crime podcasts have become a cultural phenomenon and consistently draw more listeners than any other podcast genre. The interplay between true crime podcast creators and their fans is distinctive and is having ripple effects throughout society, demonstrating patterns of information behavior distinct from other media. To date, podcasts generally, and true crime podcasts in particular, have been understudied in the LIS field. The author argues the need for this research, asserting that LIS researchers are uniquely qualified as information professionals to study this new development

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37

Owen, Jenny. "Book Review: Crime, Fear and the Law in True Crime Stories." Media, Culture & Society 24, no. 2 (2002): 294–95. http://dx.doi.org/10.1177/016344370202400211.

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38

Durham, Alexis M., H. Preston Elrod, and Patrick T. Kinkade. "Images of crime and justice: Murder and the “true crime” genre." Journal of Criminal Justice 23, no. 2 (1995): 143–52. http://dx.doi.org/10.1016/0047-2352(95)00002-8.

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39

Nadhirah, Ain, and Rozaimah Rashidin. "Categorized and Mapping the Lexical Meaning that Describing Sexual Harassment (Obscenity/Lewd) Crimes in Malay Tabloid Press." International Journal of Modern Languages And Applied Linguistics 5, no. 3 (2021): 54. http://dx.doi.org/10.24191/ijmal.v5i3.13870.

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The categorization of meanings against lexical items that have multiple meanings or that undergo an expansion of meaning often poses problems to language users. This is because language users are often confused and unsure of the true meaning of a lexical item based on the context of its use. Studies on lexical semantics have been extensively conducted but most of the studies conducted focus on the meaning of adjectives, idioms and verbs only. Studies linking word meaning to sexual crime using newspaper data are still considered new and still lacking in number. This study, which uses Prototype

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40

Riascos Villegas, Álvaro J., Jose Sebastian Ñungo, Lucas Gómez Tobón, Mateo Dulce Rubio, and Francisco Gómez. "Modelling underreported spatio-temporal crime events." PLOS ONE 18, no. 7 (2023): e0287776. http://dx.doi.org/10.1371/journal.pone.0287776.

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Crime observations are one of the principal inputs used by governments for designing citizens’ security strategies. However, crime measurements are obscured by underreporting biases, resulting in the so-called “dark figure of crime”. This work studies the possibility of recovering “true” crime and underreported incident rates over time using sequentially available daily data. For this, a novel underreporting model of spatiotemporal events based on the combinatorial multi-armed bandit framework was proposed. Through extensive simulations, the proposed methodology was validated for identifying t

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41

Nikolic-Ristanovic, Vesna. "Fear of Crime in Belgrade." International Review of Victimology 4, no. 1 (1995): 15–31. http://dx.doi.org/10.1177/026975809500400102.

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This paper reports research findings from the capital city of Yugoslavia, Belgrade. Both fear of crime and opportunity theory suggestions were tested. Differences in victimization experience influencing day/night time fear of crime, as well as differences in day/night time fear of crime influences on routine activities, were examined. Other factors influencing fear of specific crimes were examined. The research was carried out on a random sample comprising 400 respondents living in four Belgrade municipalities. The results of this research show that there exists a feeling of unsafeness in rela

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42

Platten, David. "Damaged Goods? The Edginess of True Crime." Crime Fiction Studies 3, no. 2 (2022): 140–58. http://dx.doi.org/10.3366/cfs.2022.0071.

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This essay explores the ontological and aesthetic qualities of true crime. With reference to stories set in different regions of the world, produced by writers with hybridised cultural identities, it draws on concepts of ‘truthiness’ (Colbert), ‘depthiness’ (Vermeulen) and ‘eeriness’(Fisher) to show how true crime encodes a neo-modernist aesthetic, marked by attention to place, non-standard verbal forms, and narrative polyphony. However, its ontological dimension also encourages an intense form of participation on the part of the reader-consumer, who, when listening to podcasts or watching tel

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43

Cook. "Barnaby Rudge, True Crime Style." Dickens Studies Annual 51, no. 2 (2020): 252. http://dx.doi.org/10.5325/dickstudannu.51.2.0252.

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44

Wiltenburg, Joy. "True Crime: The Origins of Modern Sensationalism." American Historical Review 109, no. 5 (2004): 1377–404. http://dx.doi.org/10.1086/530930.

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45

Barzun, Jacques. "The Place and Point of ‘True Crime’." Medicine, Science and the Law 41, no. 1 (2001): 72–73. http://dx.doi.org/10.1177/002580240104100113.

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46

Franzen, Johannes. "EIN ALIBI FÜR PORNOGRAFIE? TRUE-CRIME-MAGAZINE." POP. Kultur und Kritik 13, no. 2 (2024): 108–16. http://dx.doi.org/10.14361/pop-2024-130215.

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47

Garza, James A. "True Stories of Crime in Modern Mexico." Hispanic American Historical Review 91, no. 1 (2011): 175–76. http://dx.doi.org/10.1215/00182168-91-1-175.

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48

GILLESPIE, KAY. "Utah’s Lawless Fringe: Stories of True Crime." Utah Historical Quarterly 70, no. 4 (2002): 380–81. http://dx.doi.org/10.2307/45062752.

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49

Kamińska, Magdalena. "Podcasting true crime jako medialny gatunek hybrydyczny." Perspektywy Kultury 42, no. 3 (2023): 165–78. http://dx.doi.org/10.35765/pk.2023.4203.13.

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Artykuł omawia genezę i charakterystykę hybrydy medium i gatunku narracyjnego, jaką jest podcasting true crime (TC). Łącząc nową technologię i stary typ opowieści, kontaminuje on aktywizm z konsumpcjonizmem, informację z rozrywką oraz to, co rzeczywiste, z tym, co wirtualne. Stanowi przykład medium zdemasyfikowanego i choćby z tego względu jest wart badawczego zainteresowania. Autorka wykazuje, że powinien również stać się przedmiotem analiz humanistyki zaangażowanej. Podcasty TC bowiem nie tylko werbalizują i propagują określone postawy wobec przestępstw, ale także stanowią narzędzie krytyki

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50

Ouellette, Laurie. "“Live, Laugh, Luminol”." Film Quarterly 78, no. 3 (2025): 65–69. https://doi.org/10.1525/fq.2025.78.3.65.

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FQ columnist Laurie Ouellette reports on her visit to CrimeCon, a convention that connects predominantly white female fans with content producers, entrepreneurs, victim advocates, and law enforcers. Unpacking the unsettling amalgamation of everyday violence and trauma, crime-solving, female-centric storytelling, and feminized fan culture on display at the event, she theorizes true crime fandom as an intimate public that the burgeoning true crime industry and its carceral partners claim as their own.

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