Dr David Redmon

Lecturer in Criminology


Dr David Redmon is a Lecturer in Criminology. He completed his PhD at the State University of New York, University at Albany and is a former fellow at the Radcliffe Institute for Advanced Studies at Harvard University and Harvard University’s Film Studies Center. 

Together with Ashley Sabin, De Redmon has produced, directed, edited and photographed Mardi Gras: Made in China (2005), Kamp Katrina (2007), Intimidad (2008), Invisible Girlfriend (2009), Girl Model (2011), Downeast (2012), Kingdom of Animal (2012), Night Labor (2013), and Choreography (2014). These projects have premiered at Sundance, Toronto, Cinema du Reel, Visions du Reel, RIDM, MoMA, and Viennale Film Festivals and they have aired on PBS, POV, BBC, CBC, DR, ARTE, NHK, and other international television stations. 

Research interests

Dr Redmon is interested in ethnographically recording experiential encounters and rendering expressivity with audiovisual and written mediums. His current book demonstrates how audiovisual recording devices can render lived experiences as aesthetic and affective knowledge. 

Cinematically, Dr Redmon uses media to depict the experiential life of animals, objects, places, and people within haptic, somatic, and physically tactile modes of expression. 

Dr Redmon is piqued by different ways to articulate cultural criminology in experiential ways.  


Dr Redmon teaches in the area of youth and crime. He is interested in teaching courses that use audiovisual technologies to produce experiential and sensory scholarship. 


Member of the International Visual Sociology Association



  • Redmon, D. (2018). Video Methods, Green Cultural Criminology, and the Anthropocene: SANCTUARY as a Case Study. Deviant Behavior [Online] 39:495-511. Available at: https://doi.org/10.1080/01639625.2017.1407110.
    Documentary criminology is a burgeoning, open-ended methodological technique that crafts and depicts sensuous knowledge from the lived experiences of crime, transgression, and harm. This ‘video ethnography paper’ examines my 74 minute documentary, SANCTUARY, as a case study to demonstrate how documentary criminology draws upon green cultural criminology, video methods, and sensory studies to provide an experiential understanding of crime (in this case, against donkeys) and rehabilitation in the contested notion of an ‘anthropocene’ epoch. I trace how documentary criminology can evoke and enact the lived experiences of “donkey rehabilitation” as sensuous scholarship.
  • Redmon, D. (2016). Documentary criminology: Girl Model as a case study. Crime Media Culture [Online] 13:3-20. Available at: http://dx.doi.org/10.1177/1741659016653994.
    Visual and cultural criminology are integrated with documentary filmmaking to develop a theoretically grounded, practice-based approach called ‘documentary criminology’. The first section establishes the need for documentary filmmaking in criminology and outlines methodological opportunities. The second section examines theoretically the aesthetics and substance of documentary criminology. The third section takes the film Girl Model (Redmon and Sabin, 2011) as a case study to demonstrate how documentary criminology embedded in lived experience (in this case, the experience of scouts that recruit young Russian girls, purportedly for the modelling industry) can depict sensuous immediacy. The final section contrasts the aesthetic and ethical consequences of documentary criminology within Carrabine’s (2012, 2014) concept of ‘just’ images to a documentary filmmaking approach that remains interpretively open-ended. Readers can access Girl Model at https://vimeo.com/29694894 with the password industry.
  • Redmon, D. (2015). Documentary Criminology: Expanding the Criminological Imagination with "Mardi Gras- Made in China" as a case study. Societies [Online] 5:425-441. Available at: http://dx.doi.org/10.3390/soc5020425.
    This paper explores the central role of documentary filmmaking as a methodological practice in contemporary criminology. It draws from cultural criminology to develop emerging, open-ended practices for conducting ethnographically inflected audiovisual research that crafts sensory knowledge from aesthetic experience. First, it demonstrates how documentary criminology is an ethnographic practice that embraces audiovisual technologies to inflect, render, and depict the aesthetics of material, sensory, and corporeal experiences of crime and transgression as knowledge production. Second, it explores a particular type of lived experience that John Dewey terms “aesthetic” to demonstrate the sorts of tangible and intangible entities that documentary criminology can interpret, record and depict as knowledge. To demonstrate this approach, the article employs a variety of examples from cultural criminology and from the documentary Mardi Gras: Made in China. The final part of the paper turns to an analysis of Mardi Gras: Made in China itself to illustrate the overlap of theory, methods, and reflexive practices of documentary criminology within four broad aesthetic domains: temporality, topography, corporeality, and the personal. The inclusion of documentary within an open-ended methodological sensibility, both as a mode of analysis and as a means of producing sensory knowledge, can expand the criminological imagination.
  • Gentry, C., Redmon, D. and Sabin, A. (2011). The Kamp Katrina Project : A Conversation with the Filmmakers. Invisible Culture: An Electronic Journal for Visual Culture [Online]. Available at: https://www.rochester.edu/in_visible_culture/Issue_16/articles/sabin_interview/sabin_interview.html.
    “Kamp Katrina” was supposed to provide a communal shelter in the aftermath of the devastating storm of late summer 2005. The tent village was located in the garden backyard of a house on Alvar Street, in the post-Katrina “melting pot” of New Orleans’ Upper 9th Ward. The inhabitants included the homeowners—an eclectic Native American woman known as Ms. Pearl and her husband David Cross, the owner of a home-repair business—and their traumatized guests, who are mostly poor, white, working-class addicts and survivors. Although it is inspiring to witness the dedication and generosity of the hosts, there is also a necessary toughness in their mission, as campers are evicted for fighting, stealing, or substance abuse. Maybe most viewers are not surprised to see the social order break down as it surely does at Kamp Katrina, yet many critics have noted the film’s unexpected beauty and artfulness.
  • Redmon, D. (2010). Low Self-Control Theory at Mardi Gras: Critiquing the General Theory of Crime Within the Framework of Normative Deviance. Deviant Behavior [Online] 24:373-392. Available at: http://dx.doi.org/10.1080/713840225.
    This exploratory study situates the theory of low self-control within the framework of normative deviance. Empirically, it tests whether self-reported acts of deviance committed prior to attending Mardi Gras predict self-reported acts of lewd behavior during Mardi Gras in New Orleans. Lewd conduct at Mardi Gras is defined as the exposure of one's genitals, anus, vulva, or female breast nipples, or engaging in oral or penetrative sex in any public place open to the view of people. The overall findings do not support Gottfredson and Hirschi's theory of low self-control. The conclusion integrates qualitative interviews to provide an original critique of the general theory of crime within the framework of normative deviance.
  • Redmon, D. (2010). playful deviance as an urban leisure activity: secret selves, self-validation, and entertaining performances. Deviant Behavior [Online] 24:27-51. Available at: http://dx.doi.org/10.1080/10639620390117174.
    Framed by Erving Goffman's (1963) concept of backspaces, this article interprets the accounts people provide for participating in playful deviance during Mardi Gras in New Orleans. Backspaces provide a liminal license for people to transgress norms, participate in playful deviance, and present their secret self in urban settings. The major findings are that playful deviance is an urban tourist attraction that provides self-validation and enjoyment for participants. Examples of playful deviance include flashing the breasts, penises, buttocks; masturbating; performing or receiving oral sex; orhaving penetrative sex in public with strangers onBourbon Street during Mardi Gras.
  • Redmon, D. (2010). testing informal social control theory: examining lewd behavior during mardi gras. Deviant Behavior [Online] 23:363-384. Available at: http://dx.doi.org/10.1080/01639620290086422.
    This exploratory study extends Forsyth's research on lewd behavior during Mardi Gras by testing Sampson and Laub's (1993) theory of informal social control. Lewd Conduct at Mardi Gras is defined as the exposure of one's genitals, anus, vulva, or female breast nipples, or engaging in oral or penetrative sex in any public place open to the view of people. The overall findings do not support Sampson and Laub's theory of informal social control. Yet, significant findings did reveal that people who have high incidences of divorces and engagements are more likely to participate in lewd behavior during Mardi Gras. It is suggested that future researchers incorporate Forsyth's methodology by using qualitative research when studying lewd behavior during Mardi Gras.
  • Redmon, D. (2008). Making Mardi Gras: Made in China and Kamp Katrina. Visual Studies [Online] 23:85-99. Available at: http://dx.doi.org/10.1080/14725860801908585.
  • Redmon, D. (2002). Deviant Pleasures, Deviant Riots. Adbusters 40.


  • Redmon, D. (2014). Beads, Bodies, and Trash: Public Sex, Global Labor, and the Disposability of Mardi Gras. [Online]. Routledge. Available at: https://www.routledge.com/Beads-Bodies-and-Trash-Public-Sex-Global-Labor-and-the-Disposability/Redmon/p/book/9780415525404.
    Beads, Bodies, and Trash merges cultural sociology with a commodity chain analysis by following Mardi Gras beads to their origins. Beginning with Bourbon Street of New Orleans, this book moves to the grim factories in the tax-free economic zone of rural Fuzhou, China. Beads, Bodies, and Trash will increase students’ capacity to think critically about and question everyday objects that circulate around the globe: where do objects come from, how do they emerge, where do they end up, what are their properties, what assemblages do they form, and what are the consequences (both beneficial and harmful) of those properties on the environment and human bodies? This book also asks students to confront how the beads can contradictorily be implicated in fun, sexist, unequal, and toxic relationships of production, consumption, and disposal. With a companion documentary, Mardi Gras Made in China, this book introduces students to recording technologies as possible research tools.

Book section

  • Redmon, D. (2017). Going Feral: Kamp Katrina as a Case Study of Documentary Criminology. In: Brown, M. and Carrabine, E. eds. Routledge International Handbook of Visual Criminology. London, UK: Routledge. Available at: https://www.routledge.com/Routledge-International-Handbook-of-Visual-Criminology/Brown-Carrabine/p/book/9781138888630.
  • Redmon, D. (2015). Guy Debord. In: Cook, D. T. and Ryan, J. M. eds. The Wiley Blackwell Encyclopedia of Consumption and Consumer Studies. Wiley-Blackwell. Available at: http://www.amazon.co.uk/Blackwell-Encyclopedia-Consumption-Consumer-Studies/dp/0470672846/ref=sr_1_1?ie=UTF8&qid=1416478642&sr=8-1&keywords=Wiley+Blackwell+Encyclopedia+of+Consumption+and+Consumer+Studies.


  • Redmon, D. (2002). Cultural Criminology and the Carnival of Crime. Australian and New Zealand Journal of Criminology [Online] 35:114-116. Available at: http://dx.doi.org/10.1375/acri.35.1.114.
    ike Presdee addresses carnivalesque events in his fascinating, timely, and
    must-read book,
    Cultural Criminology and the Carnival of Crime
    . Presdee
    addresses the performance of pleasures, the various ways in which they are
    consumed on the margins of social life, and why these pleasures threaten “orderly”
    society. Presdee appropriately names these exciting and seductive pleasures “the
    carnival”. Carnival is the second life of the people, a festive space “where truth can
    be told against the cold-hearted lies of rational, scientific modernity” (Presdee,
    2000, p. 9). Carnival exists in opposition to the official life of inequality, a life filled
    with rationality, oppression, suffering, and poverty. Here people experience humili-
    ation, alienation, and meaningless existence.

Visual media

  • Redmon, D. (2014). No Exit. [Documentary].
  • Redmon, D. and Sabin, A. (2014). Choreography. [Documentary].
  • Redmon, D. and Sabin, A. (2013). Night Labor. [Documentary].
  • Redmon, D. and Sabin, A. (2012). Kingdom of Animal. [Documentary].
  • Redmon, D. and Sabin, A. (2012). Downeast. [Documentart].
  • Redmon, D. and Sabin, A. (2012). Girl Model. [DVD]. Available at: http://www.amazon.co.uk/Model-David-Redmond-Ashley-Sabin/dp/B006801NDY/ref=sr_1_1?ie=UTF8&qid=1418310914&sr=8-1&keywords=Girl+Model.
  • Redmon, D. (2009). Invisible Girlfriend. [DVD]. Carnival Esque Film. Available at: http://www.amazon.co.uk/Invisible-Girlfriend-DVD-Region-NTSC/dp/B002AWM0RW/ref=sr_1_fkmr0_3?ie=UTF8&qid=1416477677&sr=8-3-fkmr0&keywords=invisible+girlfriend+redmon.
  • Redmon, D. and Sabin, A. (2009). Kamp Katrina. [DVD]. Available at: http://www.amazon.com/Kamp-Katrina-David-Redmon/dp/B001WB6NH0/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1413680185&sr=1-1&keywords=Kamp+Katrina.
  • Redmon, D. and Sabin, A. (2009). Intimidad. [DVD]. Carnival Esque Film. Available at: http://www.amazon.com/Intimidad-David-Redmon/dp/B001SGEUBA/ref=sr_1_1?s=movies-tv&ie=UTF8&qid=1413680390&sr=1-1&keywords=Intimidad.
  • Redmon, D. (2008). Mardi Gras: Made in China. [DVD]. Carnivalesque Films. Available at: http://www.amazon.com/Mardi-Gras-China-Matthew-Dougherty/dp/B0018BA708.
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