Sandvik the anatomy_of_the_crime_scene_chicago_2011

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The anatomy of the crime scene. Paper at the 101st Annual Society for the Advancement of Scandinavian Studies conference, Chicago April 2011

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Sandvik the anatomy_of_the_crime_scene_chicago_2011

  1. 1. The anatomy of the crime scene - on narrative and performative practices inthe investigation of crime’s place and actions SASS 2011: Panel on crime fiction and contemporary society Kjetil Sandvik, ph.d. associate professor, Dept. of Media, Cognition and Communication, University of Copenhagen
  2. 2. Point of departure• a crime scene may be understood as an augmented place• places may be augmented through several narrative strategies for embedding stories into a certain place and among which are staging, fictionalization, and physical alteration• the way we perceive and experience augmented places is by applying a performative practice through which simulations of the embedded narratives are acted out in time and space
  3. 3. Augmented places• Places which has gotten a certain surplus of meaning, a certain kind of narrative embedded into it.• Augmentation of actual places implies that the characteristics of these places have been enhanced in that a certain mode, atmosphere or story has beed added to them as extra layers of meaning.
  4. 4. Augmentation of places• Augmentation may take place as a process of staging in which the place constitutes a scene for the performance of ‘true’ stories, that is re-enactment of some actual events which are recognized as objectively authentic.
  5. 5. The staging of the Jack the Ripper-storyruns through and organizes urban spaceof today’s London and thus changing itinto a specific place with a specificatmosphere and a specific plot:the scene of the crime.
  6. 6. Augmentation of places• Staging• Augmentation of places may happen through fictionalization in which the actual places are working as settings for fictions, which again influence our perception of these places.
  7. 7. When tourists embark on one of this tours, they are taken on a guidedwalk through parts of the actual towns working as ‘scenes of the crime’in Stieg Larsson’s or Henning Mankel’s novels, but following the trailslaid out not by some historical person or chain of historical events(like in the case of the Jack the Ripper-tour ) but by fictional characters(Blomqvist/Salander or Wallander) and their actions and thus the actualplaces have become augmented as a result of fictionalization.
  8. 8. Augmentation of places• Staging• Fictionalization• Augmentation of place through physical alteration: a place that has been in a certain state at a certain moment in time, i.e. the moment at which the place constituted the scene for some kind of physical activity, which has changed its nature..
  9. 9. The crime scene as an augmented place• Crime scenes are constituted by a combination of a plot and a place.• The place is not just setting for the plot; it generates the plot in that it has been embedded with narrative traces which may be read, (re)enacted and reconstructed.• Thus the place carries a plot (a narrative), which at first is hidden and scattered and has to be revealed and pieced together through a process of investigation and exploration with the aid of different forensic methods, eye-witnesses and so on; - through reading and interpretation.
  10. 10. CSI uses of simulation• Simulation as narrative strategy is well known in crime scene investigations in the performing of reconstructions of how the actual crime may have happened.• Using simulation as a narrative and performative practise implies that the investigators play the roles of potential murderers, helpers, victims, witnesses in order to reconstruct the chain of events (the crime) in time and space.• In crime fiction tv series (as well as other types of crime fiction) crime scenes are reconstructed and interpreted by the investigators through narrative and performative practises through which a specific virtual (in the sense of potential or possible) story space and a specific plot is being simulated.
  11. 11. CSI in fiction and real-life• Differences: real-life CSI lacks the emotional suspense of the fictional drama (and then again…)
  12. 12. Corporate brandingof Danish PoliceCSI-unit using adramatized andemotive presentation-form http://www.politi.dk/da/servicemenu/baggrund/KTCoevelse_reportage_21092007.htm
  13. 13. CSI in fiction and real-life• Differences: real-life CSI lacks the emotional suspense of the fictional drama (and then again…)• Similarities: also real-life CSI make use of narrative and performative strategies in the reading and (re)construction of the crime scene
  14. 14. • Interpreting the crime scene as an augmented space as is a crucial part of a crime scene coordinator’s operations:• Reading the place is part of the investigation and creating a mental image of the crime helps the crime scene coordinator to determine how the investigation should be conducted and on what it should be concentrated.• This practice of investigating a crime’s space and actions is best described as a narrative practice;• a systematic – and expertise based – work of imagination through which simulations of the potential criminal actions are performed (if not physically, so mentally) in order to reconstruct the events which have taken place and – physically, informational, emotionally – have changed the crime scene as an actual place into an augmented place.
  15. 15. Questions?Comments?

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