Criminal Madness Analysis

Tuesday, October 12, 2021 7:48:24 PM

Criminal Madness Analysis



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What manipulative behavior looks like

She is sexually aggressive and promiscuous. She exists for the sexual satisfaction of men and is therefore deserving of sexual abuse and exploitation she may experience. How they restrict our freedom and render us vulnerable to violence and marginalisation. In the same spirit, I have proposed the term negrableism as the application of intersectional thinking to the meeting of ableism and anti-blackness. Here we may say negrableism is the specific hatred, fear, distrust, and prejudice directed toward Black disabled people AND the patterns of structural disadvantage black disabled people face because of the intersection of anti-black racism and ableism.

As far as historical and socio-political context, a chronology of key events and processes may help frame the argument. The point of the section below is not to provide an exhaustive history but to draw parallels between constructions of disability and constructions of race so we can start to see more clearly that intersection. Although colonial logics did not strictly speaking give birth to ableism since ableism clearly precedes colonial and imperial constructions of race which in the main took hold the early to mid 17th century , their constructions of the body and its instrumentalisation in relation to capital acquisition, shaped ableist violence and vice-versa.

These were attempts at social cleansing. Whitening practices, equally, sought to produce the superior race by disappearing blackness from a number of colonial territories. Finally, disabled Africans and those who were unable to work were put to death once more making the links between eugenics and colonial logics undeniable. Similarly, as the incapacity to work became increasingly criminalised, criminality became increasingly associated with race. Initially through the racialisation of the Irish and Roma people then later, that of black people. Both groups were therefore subjected to control measures, hygiene politics and eventually mass murder and genocide. Psychiatric and psychological frameworks played a central role here and in more ways than this article has space to cover; even though this history is often disowned.

Psychiatry and psychology have long functioned as guardians of the social order and with that naturally became invested in ensuring the promulgation of ableist and racist thinking both as social systems in their own rights, but also as structures subject to the influence of the wider forces of society. As such, not only did criminality and insanity or social deviancy became the dominant concern of mental health professions pretty much since inception, the ideas of degeneration, lunacy and racial inferiority were both normalised within mental health thinking, and formed the basis of everyday practices. As did a concern for conformity to the social order and thus to white, patriarchal and colonial logics. As an illustration, the scientific explanation for Down syndrome was racial.

The aetiology or cause of the learning disability was thus hypothesised to be a genetic abnormality leading to what was essentially seen as a racial degeneration. Again, the point of reviewing this history was to draw parallels between race and disability and to try to extract key constructions related to disability which have the potential to intersect with racial constructions and thus lead to increased risks of harm. Based on the above we may suggest them as follow:. The constructions of black and colonised bodies as forever children needing guidance, saving, instructing by white paternalism, remain. This infantilisation also exists in disability thinking. There is no need to consult them or their family, who are equally seen to be children. Their consent becomes an non-issue.

Notion of degeneracy although disowned in the main, continues to shape how mental health services deal with black people, particularly black people with diagnoses of psychosis. Expectations can be low. It is not unusual for mental health professionals to view schizophrenia as a neurodegenerative disease, for example. The elevated rates of institutionalisation take us straight back to the social alien and outcast needing containment lest they pose risk to the social order, corrupt or contaminate others.

We have seen that disability has a long history of being framed as dangerous. Genetically, socially, intellectually or even spiritually. The association between dangerousness and blackness is one of the most troublesome when it comes to criminal justice, law enforcement and mental health systems. This alleged dangerousness is wrapped up around white projections of aggression, notions of bestiality and out of control-ness.

It is this construction that leads to control and restraint measures and freedom deprivation disproportionately used when mental health services deal with black people. This construction was central to the colonial endeavour of course and the need to tame, to control and domesticate the dangerous and wild Other. Related to constructions of dangerosity; is an element of magical thinking in the way statutory services deal with and perceive of black people. This takes us to magico-spiritual beliefs around devil, monsters and supernatural phenomena we saw early in the timeline of disability constructions Middle Ages.

Such fears are perceivable today through the superhumanisation of black men in particular, the widespread belief that they have god-like physical power or strength or, that black people feel no pain. Belief systems that lead to over-medication of psychotropics and under-medication of pain medication and to many young black men like David Bennett being restrained for dangerously extended periods of time by three, four, five men; in position of power and often armed with weapons.

There are very few processes, drives or social discourses that have applied to disabled people which have not been applied or continue to be applied to black people and vice versa. The capacity or incapacity to labour and to be used for the purpose of white patriarchal capitalist interests lays at the centre of both colonial logics and ableism. Negrableism is the intersection of ableism and anti-blackness. It leads to hatred, fear, distrust, and prejudice directed toward Black disabled people AND the patterns of structural disadvantage black disabled people face.

Reviewing constructions of disability and mapping them onto racial logics we have suggested that 1 infantilisation 2 degeneracy 3 dangerousness and 4 superhumanisation are constructions that lead to patterns of structural harm black disabled people, particularly people disabled because of mental ill health are at risk of, because they sit at intersection of anti-black racism and ableism. Negrableism is the term I have suggested to make that specific intersection visible. If you have found this article useful or interesting, please spread the word. All work published on Race Reflections is the intellectual property of Race Reflections.

Please do not reproduce, republish or repost any content from this site without express written permission from Race Reflections. You can also access it by clicking here. In simple terms, achieving a more stable economic status could hopefully guarantee a safe and happy place in the culture. However, as events have shown, simply having more money and achieving a greater status is not enough to dilute hundreds of years of embedded racial attitudes. This final line is both haunting and damning in what it states regarding race relations.

The lyrics are certainly strong in their message, but the themes are strengthened further by the images in the video. Accompany the gospel chanting of the introduction, the first image is that of a black man sitting solitarily and playing a guitar. Gambino appears and is dancing happily. The image further emphasizes the idea of African-Americans having perceived idea of what is hoped for or even expected of them.

This is then interjected with Gambino shooting this man in the back of the head, leading into the previously mentioned chaotic chorus. In the background, the video is a clash of images. We see Gambino accompanied by school children who dance with him. However, the video continues to escalate with conflicting images of him dancing with children, while more violence seems to be going on just out of focus.

The video, much like the song itself, seems to demonstrate the conflict within the singer and perhaps black culture overall. Characters in the background are just interchanged between dancing and singing together to running in fear as riots appear to be escalating around them. This type of dancing could have another meaning as well. This type of dance originated in South Africa, a nation with a long history of oppression between races. The historical context is there as well, hinting that the roots of the issues have had lasting implications linked all the way back the origin of the slave trade.

Much like the shift tempo of the song, the images shift contrastingly with bursts of violence. For instance, Gambino comes across of a group of people dancing in a choir. He starts dancing with them, but then mows them all down with a machine gun. He then moves as the camera turns, revealing a team of police swooping in. The dancing and singing seems to be a representation of the ideal status quo.

Ultimately though, each instance of gun violence is quickly swept under the rug and everything seems to go back to normal, until the next burst of violence. Following the pattern of the song, this is the cycle of violence which keeps repeating. One of the most interesting aspects of the performance is of the demeanor Gambino has throughout the video. Another example of the internal strife he is feeling, Gambino not only sharply contrasts his body movements from dancing to murder, but through facial expression.

Throughout the video, Gambino shifts his facial features from showing joyful smiles to pained looks somewhere between rage and fear. All the while, he is often directly addressing the camera and the viewer with each moment of intense eye contact. The most frightening image is probably the final one, featuring Gambino running in terror from a crowd of Caucasian Americans. Conclusively, the video seems to suggest that Gambino, and by extension black society, live in fear of their white neighbors. Childish Gambino is an artist with work that has often been soulful, thoughtful and sometimes heartbreaking. Most of his songs are established as being rather upbeat, but often had lyrics which suggest introspection and a truly personal reflection, often with a sad and melancholy tone.

Based on an unfinished manuscript by James Baldwin, the film explores the history of racism in the United States and the struggles of the Civil Rights movement. With symbolic word choice and specific musical dynamics, Gambino seems to focus on gaining a strong emotional response with both his voice and images. However, much like the wave of social media awareness over the last few years, songs like these force us to ask questions about how we can improve our society and start communicating with each other about these issues.

Dope tune…and I thought hip hop, or at least the hip hop I use to like, died many moons ago. Great bloody tune. The rise and rise of Donald Glover. One minute he is building a pillow fort with Abed in Community. An amazingly well made video. Horrific scenes and vile attitudes. Childish Gambino has shown us what America seems to be allowed to be. Great video and music.

Being black in America is deadly. Donald Glover is the most annoying man in the world. And he seems like a good bloke. You can watch it several times, and still miss so much. Because Gambino is in the foreground, dancing away and distracting you from the harsh reality all around. A comment on black on black violence? Or is it meant to shock my out of my middle class comfort zone? Visually the video is just stunning, trying to keep track of so many layers and movements is nigh on impossible as the brain gets pummelled with message after message, so many parts where the brain makes you see what is not there, and the track itself just pushes the boundaries of rap — and what can be considered popular music.

Mindblowing stuff,. The murders show what life is actually like on the streets right now for average black dudes in America. A black church congregation was gunned down a few years ago. Black people killed in pais, and groups every day. Violence made this video. The real violence on the street that kills people FYI blacks not whites every minute in America. Because it is a daily, real life situation in America.

ANd I guess the many layers of action you see are not trying to confound you. This is life on the street. Trying to overanalyze it all means you have never been in this situation. As such, you need to watch it a few more hundred times to start feeling the feels that any black baby is going to feel in America right now. Content includes concept and production sketches and paintings, work-in-progress animation, video from motion capture sessions, and a rather lengthy video showcasing a complete level from an early version of the game. These features were later carried over to the PC version of the game. Condemned: Criminal Origins was originally known as The Dark , quite far into production. Under this name, the game was largely similar but differed in several key areas.

The player character was known as Agent Cross, and the game appeared to follow him on a government-sanctioned investigation, or investigations, rather than acting as a rogue on the run from the law. Although Cross possessed the supernatural leanings of Thomas from the final game, he could actually use various magical spells. For example, a spell could be uttered to pull a gun from an enemy's hands and another spell saw doors and other obstacles break in front of the player, seemingly negating the need for a fire axe.

The forensic tools used by Cross also differed, as the detection and collection tools were typically one individual item - the UV light, for instance, could illuminate clues and then be used to physically swipe across them, to take samples. Condemned: Criminal Origins received "generally favorable reviews" on both platforms according to the review aggregation website Metacritic. Detroit Free Press gave the Xbox version a score of all four stars and said: "Though the game could be longer and could stand more diversity, the cold shivers that run down your spine while playing it are an undeniable rush". Admittedly, these people attack you, and in fact will often attack and kill one another if you just get out of their way, but I still found it disturbing".

The violence is raw, barbaric and unsettling". If you want to spend a night or two in the company of the future of horror videogaming, you could do a lot worse". Distribution in Germany is now prohibited by law. A six-part episodic online game was released on the Condemned: Criminal Origins website. The protagonist is Agent Mallory, who is searching for a serial killer. In the last episode, Mallory is killed by Serial Killer X. The game ends where Condemned: Criminal Origins begins. A direct sequel to the game was released in It was titled Condemned 2: Bloodshot to show the character evolution in protagonist Ethan Thomas.

The game was developed by Monolith and published by Sega , the same companies as the original. It expanded on the gameplay elements from Condemned and added several new features such as online multiplayer and environmental kills. Warner Brothers Studios announced plans to release a film adaptation which is set in the same "universe" as the then upcoming Condemned: Criminal Origins in October A report from The Variety stated that Kurt Sutter, co-executive producer of the television series The Shield , was to be a writer of screenplay for the film under the working title Unforgettable.

According to earlier drafts of the script, a police officer hunts down a serial killer in an attempt to clear his name from murder, but during the process he discovers that he may be tied to other ongoing murder cases in an unusual way. The cop soon begins to question throughout his investigation upon discovering his supernatural abilities, "who he is as a man, until he realizes he's not a man. A tug-of-war emerges among a faction of good and evil aliens". Hall, along with Nathan Henderickson, was responsible for the film's concept and claimed that he seeks to "come up with something specifically designed to use multiple mediums to tell stories that had some continuity and connective thread We wanted to create a universe that, like a Star Wars , was big enough where different stories could exist".

From Wikipedia, the free encyclopedia. For the basketball player, see Etan Thomas. Xbox Microsoft Windows. This section needs expansion. You can help by adding to it. February Main article: Condemned 2: Bloodshot. November 14, Archived from the original on Retrieved November 14, Computer Gaming World. Ziff Davis. Archived PDF from the original on Retrieved June 14, Electronic Gaming Monthly. Gamer Network. Retrieved June 13, Famitsu in Japanese. Game Informer. Archived from the original on January 24, IDG Entertainment. Archived from the original on May 18, November 21, Archived from the original on December 2, Game Revolution. Archived from the original on September 10, CBS Interactive. November 29, Archived from the original on February 18, Archived from the original on October 2, Archived from the original on October 6,

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