Criminal Performances: Film, Autobiography, and Confession
Criminal Performances: Film, Autobiography, and Confession
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犯罪表演：电影、自传和自白
DOI：
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发表时间：
2007
期刊：
影响因子：
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通讯作者：
Jessica M. Silbey
中科院分区：
文献类型：
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作者：
Jessica M. Silbey
本文通过对录像供词与自传体电影的比较，对刑事司法强调录像供词作为提高准确性和最大限度地减少违宪胁迫的最高证据提出质疑。它表明，将电影忏悔作为一种自传体电影进行分析，揭示了法律对忏悔的依赖（作为揭示内在自我）与文学和电影对忏悔的概念（作为构成众多自我中的一个）之间有益的紧张关系。通过对几部自传体写作和电影历史的仔细研究，这篇文章展示了如何拍摄的供词没有揭示被告陈述的真实性或诚实性。相反，仔细检查录像忏悔，可以证明所有忏悔行为的表演方面。就像自传体电影的主题一样，电影中的被告在电影中表演他们的犯罪行为，或者将他们作为罪犯的法律身份表现出来。通过胶片摄像机（正如越来越多的警察和侦探所做的那样）来构建供词，强调了在形成身份的过程中，供词的质量，因此，它本质上是不稳定的和多方面的。在之前的一篇文章的基础上，通过比较电影忏悔与纪录片制作的形式，批评了全国范围内需要拍摄罪犯忏悔的趋势，本文通过将电影忏悔作为自传体电影的形式进行了同样的批评。这样一来，对视频供词的分析就从口头供词的真实性和自愿性转向了口头供词主体的倡导和说服。对几部电影忏悔的分析表明，电影忏悔如何更类似于电影自传：与话语媒介（审讯）的约束有关的身份表演。我们从影片供认中了解到的是电影和法律在揭示犯罪真相方面的局限性。这一批判观点削弱了控方的主张，即录像供词明确表明被告自愿陈述了自己的犯罪行为。
This article questions the criminal justice emphasis on filmed confession as the superlative evidentiary proffer that promotes accuracy and minimizes unconstitutional coercion by comparing filmed confessions to autobiographical film. It suggests that analyzing filmed confessions as a kind of autobiographical film exposes helpful tensions between the law's reliance on confession as revealing the inner self and the literary and filmic conception of confession as constituting one self among many. Through a close examination of several filmed confessions along side an examination of the history of autobiographical writing and film, this article shows how filmed confessions do not reveal the truthfulness or honesty of the defendant's statement. To the contrary, close examination of filmed confessions evidences the performative aspect of all confessional acts. Like autobiographical film subjects, filmed defendants perform their criminality, or enact their legal identity as guilty on film. Framing the confession through a film camera (as increasingly police and detectives do) stresses the qualities of confessional speech as always in the process of forming an identity, and therefore as inherently unstable and manifold. Building on an earlier article that criticizes the nationwide trend that requires the filming of criminal confessions by comparing filmed confessions to a form of documentary filmmaking, this article engages the same critique by examining filmed confessions as a form of autobiographical film. Doing so relocates the analysis of the filmed confessions from one of truthfulness and voluntariness of the spoken confession to one of advocacy and persuasion by the speaking subject. Analysis of several filmed confessions shows how filmed confessions are more akin to filmed autobiographies: performances of identity in relation to the constraints of the discursive medium (the interrogation). What we learn from the filmed confession is the limits of film and of law to reveal the truth of the crime. This critical perspective undermines the state's assertion that filmed confessions unambiguously denote the defendant's voluntary recitation of his criminal act.