2011 Conference Program (PDF) - Syracuse University College of Law


2011 Conference Program (PDF) - Syracuse University College of Law

future takes precedence over controlling the present, one in which the temporal horizon

of law and fatherhood is kept firmly in view. In the figure of Atticus, To Kill a

Mockingbird suggests that law and fatherhood are powerful and yet limited in their

power, that both exist in the present but are oriented toward an as yet unrealized future.

Sue Heinzelman

We don't have mockingbirds in Britain do we Racism, Justice and the British Reception

of To Kill a Mockingbird

As someone who was raised in Britain and who was living there when the film was

released, I am curious about the reception it received in a country that believed it would

never experience the kind of racism depicted in the novel. Movie after movie in the early

1960s still celebrated the heroism of British troops in WWII and the newspapers

continued to report on the Holocaust as an event of unparalleled horror. How did a British

audience, recovering from the trauma of the war and its inevitable xenophobia, respond

to the images of racial hatred and injustice depicted in the film

Ravit Reichman

Dead Animals

2.3 Law/Text/Culture

The line dividing human from animal—and the question of what it means to be a human

animal—has become increasingly critical in the humanities, sciences and the law. This

paper takes up the human-animal relationship as it emerges and is navigated in the film

“To Kill a Mockingbird,” the very title of which suggests the precarious life at stake in

the confluence of violence, human and animal life. The film’s treatments of

responsibility, complicity, madness, ornamentality and instrumentality—the ways in

which a being does or does not serve a purpose—come to be refracted through the

problem of animal life, and I look to such refractions to posit a wider account of the

work’s ethical purchase.

Marilyn Terzic

Grace v. Sheindlin: Constructions of Syndi-Court Justice

Television can have an impact on the formation and organization of viewers’ concepts.

Thus, the more viewers can be engaged to think about the auditory and visual elements

presented in a series, the more likely they are to experience changes in knowledge,

attitudes, and behavior. To that end, this paper describes and explains how the producers

of Swift Justice with Nancy Grace and Judge Judy have manipulated the information

search and processing faculties of their audiences, and thus their understanding of the law

and the legal system. Specifically, the production techniques and message design

strategies used in these programs will be compared and contrasted to show how these

courtroom spectacles have shaped viewers’ perceptions of the litigants, judges, and


Cynthia D. Bond

“We, The Judge(s)”: Discourses of Legal Community in Reality Television

In this paper, I revisit Carol Clover’s influential argument in “God Bless Juries!” that

popular cultural images of law consistently place the audience in the role of jury, drawing

them into the “whodunit” aspect of legal narrative. Through this process, juries and

audiences are conflated in a typically positive image of democracy. Yet popular media

images of judges and judging are increasingly prevalent these days, particularly in reality

television. This focus on judging is revealed not only in shows like “Judge Judy,” but

also in competition shows like “American Idol” and “Top Chef,” and even “lifestyle”



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