cause they are cultural icons. Consequently they keep Lombrosian attributes.
Jewkes, Y. (2004) Media and Crime, SAGE Publications: London
Geek Syndicate
Rafter, H. and Gibson, M. (2004) Cesare Lombroso and Guglielmo Ferrero Criminal Women the Prostitute, and the Normal Woman. Candaian Journal of Sociology Reynolds, R. (1994) Superheroes: A Modern Mythology, University Press of Mississippi: Jackson Starlin, J. Aparo, J. DeCarlo, M. Costanza, J. Roy, A (1988-89) Batman Issues 426-429, DC Comics: New York. Valverde, M. (2006) Law and Order: Images, Meanings, Myths, Rutgers University Press: New Jersey Valverde, M. ‘From The HardBoiled Detective to the PreCrime Unit’ in C. Greer (2010) Crime and Media: A Reader, Routledge: New York Wolfgang, M. E. (1961) Pioneers In Criminology: Cesare Lombroso (1853-1909), The Journal of Criminal Law, Criminology and Police Science. Vol 52. No 4 Yost, C. (2010) Red Robin No 14, DC Comics: New York Batman (1989) Dir. Tim Burton Batman Returns (1992) Dir. Tim Burton Batman Forever (1995) Dir. Joel Schumacher Batman and Robin (1997) Dir. Joel Schumacher Batman Begins (2005) Dir. Christopher Nolan The Dark Knight (2008) Dir. Christopher Nolan Batman: The Animated Series (1992-1995) Dir. Various
7
Conclusion
This article has examined what Lombroso’s themes of criminality are and their relation to the Batman universe. Terms such as hero, villain, criminal and re-birth were defined in order to examine the character’s attributes. The two characters chosen (Batman and The Joker) seem to show Lombrosian themes. They were both clearly the insane criminal yet neither were completely the born criminal. Therefore it would seem that as time has passed the Batman universe has continued to progress with it. Yet it would seem that this original Lombrosian ideas that many criminologists would argue are now archaic still have a place in mainstream media. Consequently they will still affect the ways in which we think about crime and the people that are committing crime.
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