ABSTRACT
In the context of emergent criminology, critical new media work has largely focused upon one of the most invisible, underreported, persistent and widespread forms of everyday harm: violence against women. The work of identifying new forms of visual and criminological analysis fitting for the conditions of our time begins with a set of practices that are grounded, in fact, in the non-representational. The image of today's mediascape brings a contextual life world with it in a new and unprecedented manner. Cultural criminologists have long given attention to the image, its meanings, and its audiences in relation to crime and transgression. The evil of the archive, however, "le mal d'archive", is found in the perpetual need for more archives, more materials, and more information. Moving forward, theorizing the more expansive prospects and accountabilities of the "decisive moment" of this-always-happening-moment is necessary to engender "a critically engaged visual criminology" in the era of the rampant image.
