In this article, a recently published Dutch book on corruption in the port of Rotterdam is reviewed. De Schiedamse cocaïnemaffia. Een corrupte douanier, doorgewinterde criminelen en duizenden kilo’s coke was written by journalist Jan Meeus from NRC Handelsblad. The book can be seen as a case study of a customs officer – Gerrit – who fell for the big money. It gives a good insight into the connection between the legal and the illegal world and how this is experienced by those involved. The information in the book is based on seven large criminal files and dozens of conversations with people mentioned in those files. Meeus also attended the criminal proceedings intensively. It is now known that the film rights of the book have been sold and that Meeus will be writing the screenplay for the feature film together with director Jean van der Velde.

Ever since the creation of silent movies, directors aim to shock the audience with explicit scenes of violence. Yet, little attention has been given to the evolution of horror movies. In order to create ‘monsters’, ‘dark locations’ and ‘explicit scenes of violence’ directors have to experiment with storylines and new techniques, if they want to shock the audience. The aim of this paper is to examine whether or not horror has become more violent (more extreme) throughout film history. Hence, we will discuss the historic evolution of horror movies in mainstream cinema (films that reached a large audience) and cult cinema (films which have a select, mostly fan based, audience).

Based on a new book edited by Michael Hviid Jacobsen The Poetics of Crime. Understanding and Researching Crime and Devience Through Creative Sources (Ashgate, 2014), Dina Siegel analyzes the ways in which social scientists can find inspiration in art, music, literature, photography and dance. She discusses how these fields can enrich criminological research by introducing new analytical instruments and skills and to discover new research fields, meanings and emotions in crime-related issues.

Compartmentalization refers to a process by which groups of people are put apart from others. In these compartments violent acts could be committed with complete impunity. Although many genocidal periods are discussed, this book is actually about the Holocaust and what the author calls ‘compartmentalization of the personality’. How can it be explained that Nazis felt no regret or guilt? What are the personality traits of these mass murderers? What are their personal motives? According to the author these criminals cannot be termed ‘ordinary people’ who were brought to killings by the situation they were in or pressure exerted on them. Individual choice and self-selection play a role.

In this feature authors review recently published books on subjects of interest to readers of Recht der Werkelijkheid.

The recent exhibition The Crime Was Almost Perfect in the Witte de With Center for Contemporary Art in Rotterdam, curated by Cristina Ricupero, focused on the dynamic relation between art (aesthetics) and crime (ethics). The review discusses the representations of crime in (some of) the exhibited art works and analyzes the ways in which the artists play with their (conflicting) meanings, ambivalences and ambiguities.