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11 Crime Media Culture 3 (2015)

handle is hein.journals/cmctre11 and id is 1 raw text is: Crime Media Culture Editorial 2015, Vol. 11(1)3-4 Edito ial© The Author(s) 2015 Reprints and permissions sagepub.co.uk/journalsPermissions.nav DOI 10.1177/1741659014566751 cmc.sagepub.com Michelle Brown OSAGE University of Tennessee, USA Eamonn Carrabine University of Essex, UK As we begin the next phase of Crime Media Culture's journey, we celebrate the extraordinary efforts of the founding editors and the editors we follow. Under the stewardship of Jeff Ferrell, Chris Greer, Yvonne Jewkes, and then Mark Hamm, the journal has very quickly established itself as the site of an exciting intellectual project. CMC's existence was never guaranteed. Through hard work and challenging decisions, the editorship and our reviewers have established a fertile space for innovative thought and dialogue on the intersection of crime, criminal justice, and cultural inquiry-relationships and interconnections that require unending exploration. From the opening editorial, the 'hope' was expressed that the journal 'will become the primary vehicle for exchange between scholars working at the intersections of criminological and cultural inquiry' (Ferrell et al., 2005: 5). This distinctive intellectual vision has helped define a new interdisciplinary field and promote international exchange. We are honored to be taking on the role of co-editors and we look forward to doing our intellectual best to continue this foundational labor and extend the journal's accomplishments into the next decade. Growth necessarily means maintaining a firm commitment to these origins, while broadening our readership, keeping our finger on the pulse of where the field(s) is (are) going. We recognize that this is a tension to be carefully navigated, between tradition and trendiness, rigor and innovation. It is also a space that depends upon where we are in the current moment. The con- temporary mediascape requires historicization and contextualization through forces of neoliberal- ism, globalization, and recurrent inequalities, ideologies, and flashpoints of resistance. It is no longer enough to interpret a single film or television show without situating it within these larger forces as well as complex media interfaces and modes of production, larger information and image flows. As media scholar John Hartley (2012) insists, cultural studies is no longer a field where reading after reading of texts accumulates to no particular end; rather, the ends-and they are many-have become the primary questions. The mobility, malleability, banality, speed, and scale of images and their distribution leave us speechless and in need of both old and new theories and methods, a refinement of concepts and tools as well as innovative new ones to tackle questions of crime, harm, culture, and control. Keywords such as image, iconography, information flows, the counter-visual, and social media, as well as the continuing relevance of the markers, signs, and inscriptions of gender, race, sexual- ity, class in cultural contests, mark the contours of our future. Such a scene insists that we must

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