Module 2: the (Un)Reliability of Clinical and Actuarial Predictions of (Dangerous) Behavior
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Fictional Documentaries and Truthful Fictions: the Death Penalty in Recent American Film
FICTIONAL DOCUMENTARIES AND TRUTHFUL FICTIONS: THE DEATH PENALTY IN RECENT AMERICAN FILM David R. Dow* When it comes to death, most Hollywood movies cheat. They cheat by tinkering with the truth, because the truth as it ac tually is is too complex or too disturbing to confront honestly. (The so-called happy ending is the most famous form of such cheating.) They cheat because people generally prefer happi ness and simplicity to darkness and complexity, especially where their entertainment is concerned, and filmmakers tend to give people what they want. Even great movies cheat. For example, last year's Oscar winner for best picture, American Beauty, cheats egregiously. The movie (for the one or two of you who have not seen it) deals with modern times: It is about suburbia, men and women who mindlessly pursue meaningless careers, bigotry, and finally, hope and redemption. In the end, the character played by Kevin Spacey is murdered. This is not a surprise ending because the Spacey character narrates the movie in a voice-over, and he tells us as the movie opens that in less than a year he will no longer be alive. We know at the beginning that 110 minutes later Kevin Spacey's character will be dead. Spacey plays a morally ambiguous character. He is in the midst of a full-blown mid-life crisis. He is a lousy husband and a worse father. For virtually the entire length of the film, he lusts after his daughter's high school classmate. In the end, however, he gently rebuffs a neighbor's homosexual advance and-again * George Butler Research Professor of Law, University of Houston Law Center. -
The Prediction of “Dangerous” Behavior: a Continuing Legacy for Barefoot V
The Prediction of \Dangerous" Behavior: A Continuing Legacy for Barefoot v. Estelle (1983) Ehsan Bokhari and Lawrence Hubert March 11, 2015 Abstract The landmark U.S. Supreme Court case of Barefoot v. Estelle (1983) held that psychiatric testimony about a defendant's future dan- gerousness is admissible, irrespective of how unreliable or inaccurate that testimony may be. Under current Texas law, the execution of an individual found guilty of a capital offense may proceed when \there is a probability that the defendant would commit criminal acts of vi- olence that would constitute a continuing threat to society." A jury's affirmative answer to this question of \future dangerousness" is rou- tinely elicited by unstructured clinical testimony from psychiatrists retained by Texas prosecutors. The psychiatrists must respond solely to hypothetical questions about the defendant because any direct ex- amination is effectively prohibited by another landmark U.S. Supreme Court case, Miranda v. Arizona (1966). This essay discusses the unfor- tunate legacy of Barefoot v. Estelle; it is still the controlling opinion whenever questions of \future dangerousness" arise, particularly for Texas death penalty cases. Thomas Barefoot, an oilfield roughneck from New Iberia, Louisiana, fatally shot police officer Carl LeVin on August 7, 1978 in Bell County, Texas. Officer LeVin was in the midst of investigating a nightclub fire set by Barefoot to divert atten- tion from a robbery he had planned to commit. An eyewitness 1 saw Barefoot emerge from some bushes near the nightclub and shoot the officer in the forehead at point blank range with a small caliber pistol. Barefoot returned to his home in a blood splattered shirt and told his roommates that he needed to leave immediately because he had just \wasted a cop." Later that night, Barefoot was arrested at a bus station, still carrying the gun used to kill officer LeVin. -
The Overproduction of Death
Columbia Law School Scholarship Archive Faculty Scholarship Faculty Publications 2000 The Overproduction of Death James S. Liebman Columbia Law School, [email protected] Follow this and additional works at: https://scholarship.law.columbia.edu/faculty_scholarship Part of the Criminal Law Commons, and the Criminal Procedure Commons Recommended Citation James S. Liebman, The Overproduction of Death, 100 COLUM. L. REV 2030 (2000). Available at: https://scholarship.law.columbia.edu/faculty_scholarship/118 This Article is brought to you for free and open access by the Faculty Publications at Scholarship Archive. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Scholarship Archive. For more information, please contact [email protected]. THE OVERPRODUCTION OF DEATH James S. Liebman* In this Article, Professor Liebman concludes that trial actors have strong incentives to-and do-overproduce death sentences, condemning to death men and women who, under state substantive law, do not deserve that penalty. Because trial-level procedural rights do not weaken these incentives or constrain the overproduction that results, it falls to post-trial procedural review-which is ill-suited to the task and fails to feed back needed informa- tion to the trial level-to identify the many substantive mistakes made at capital trials. This system is difficult to reform because it benefits both pro- death penalty trial actors (who generate more death sentences than otherwise) and anti-deathpenalty lawyers (who concentrate their resources on post-trial review proceedings where, given high rates of trial error, they prevail abnor- mally often). Reforms that focus only on trials or appeals cannot solve the problem. -
Unfinished Interview with Errol Morris by Paul Cronin
It Could All Be Wrong An unfinished interview with Errol Morris by Paul Cronin Tell me about the Interrotron. It seems surprising no one ever thought of the idea before. Yes. Odd. I used it for the first time in 1992 – on Fred Leuchter – and can find little evidence that anyone used it before then. Puzzling. Because it seems obvious. But as I like to point out, nothing is so obvious that it’s obvious. What was your underlying motivation? I’ve always been suspicious of cinéma-vérité, the fly on the wall school of documentary filmmaking where supposedly you’re not interacting with things, you’re just observing and recording them. The observer is hidden. I want to bring the observer stage-center. Almost all interviews are filmed vérité style with a camera, an interviewer and subject. You have a triangle where the camera takes the role of an observer, even voyeur. The camera is the third person observing two people talking. It’s off to the side, and even though I’m looking into your eyes and you’re looking into mine, this eye contact is something that the camera, sitting some feet from us both, doesn’t capture. This means that the audience isn’t really part of the conversation. They’re merely observing it. But our heads are wired up in a way that means eye contact is very important. It’s really an essential part of our interactions with other people. Everyone recognises the power of this connection when it happens, and I’d always looked for ways to close up that triangle. -
Predilections
Predilections Mark Singer The New Yorker — February 2, 1989 Among the nonfiction movies that Errol Morris has at one time or another been eager to make but has temporarily abandoned for lack of investor enthusiasm are "Ablaze!" (or "Fire from Heaven"), an examination of the phenomenon of spontaneous human combustion; "Whatever Happened to Einstein's Brain?" (portions of the cerebellum and the cerebral cortex are thought to be in the possession of a doctor in North Carolina, other parts are floating around here and there); "Road," the story of one man's attempt to build across northern Minnesota an interstate highway that no one else wanted; "Insanity Inside Out," based on the book of the same tide, by Kenneth Donaldson, a man who, in his forties, was wrongly committed by his parents to a mental hospital and got stuck there for fifteen years; "Weirdo," about the breeding of a giant chicken; "The Wizard of Wendover," about Robert K. Golka and his laser-induced fireball experiments in Utah; and a perusal of Yap, a South Pacific island where stone money is the traditional currency. Some months ago, Morris attended a meeting with executives of Home Box Office, his primary motive being, as they say in the movie business, to pitch an idea — in that case, the one involving Einstein's brain. The meeting did not go particularly well. An HBO person at one point said admonishingly, "You know, your movies are ironic. Our viewers just don't like irony." Groping for a more tactful evasion, another HBO person said, "We're already doing a transplant movie." "But wait a second, Morris replied. -
Web Dp Report
Capital Punishment in Texas: Images of Injustice Emily Kozora Table of Contents A Brief Overview 3 Mortal Mistakes 4 Unreliable Witnesses 4 -Gary Graham 4 -Ruben Cantu 5 -Carlos DeLuna 6 Lack of Evidence 7 -Odell Barnes 7 -David Wayne Spence 8 Incompetent Experts 9 -Cases involving bad autopsy evidence 9 -Cases involving bad psychological testimony 10 -Cameron Willingham 11 Official Misconduct 12 -James Lee Beathard 12 -David Stoker 13 Inadequate Defense 14 -Carl Johnson 14 -Billy Conn Gardner 15 Protection for Texans 16 Beyond a Reasonable Doubt? 16 A Deterrence? 17 Still Arbitrarily Administered? 18 Suggestions for Reform 19 An Interim Plan 22 Appendix A 23 A United States Perspective 23 A Worldwide Perspective 24 Appendix B 25 Cost of the death penalty 25 Work Cited 26 Contact and Researcher Information 35 2 A Brief Overview The issue of the death penalty can easily generate an array of emotions, especially within the state of Texas. However, evidence to advocate its continuance or abolition should not be based on emotional response. Instead, to fairly evaluate capital punishment, we must carefully review data that examines 4 all aspects of the system. While doing such research, one can find indications that the death penalty process in Texas has serious flaws. The faults of capital punishment have resulted in the wrongful imprisonment and execution of citizens of Texas and the degradation of our state in the eyes of many across the country. The feelings and trauma of the crime victims and their families obviously are a very important consideration. However, the death penalty offers only a false or temporary condolence to those victims while a never-ending cycle of violence continues. -
Historical Truth and Narrative Necessity in a Criminal Case Richard K
digitalcommons.nyls.edu Faculty Scholarship Articles & Chapters 1994 Law Frames: Historical Truth and Narrative Necessity in a Criminal Case Richard K. Sherwin New York Law School Follow this and additional works at: http://digitalcommons.nyls.edu/fac_articles_chapters Recommended Citation 47 Stan. L. Rev. 39 (1994-1995) This Article is brought to you for free and open access by the Faculty Scholarship at DigitalCommons@NYLS. It has been accepted for inclusion in Articles & Chapters by an authorized administrator of DigitalCommons@NYLS. Law Frames: Historical Truth and Narrative Necessity in a Criminal Case Richard K. Sherwin* Postmodern storytellers can fashion narratives that convey many different, yet equally convincing, visions of reality. Although these stories replicate our experience of the quick-cut image sequences that define contemporary popular culture, they can have only limited persuasiveforce in the legal arena when they prevent their audiencefrom reaching articulable,justifiable conclusions. Faced with such important tasks as ascertainingtruth and promotingjustice, this audience will favor storylines that offer meaningful resolution. In this article, Richard K. Sherwin examines the interplay of a traditionallinear story with a discursive postmodern story in Errol Morris' film The Thin Blue Line. Professor Sherwin concludes that Morris' linear tale effectively eclipses the uncertainties introduced by its acausalcounterplot, and he attributesthe fail- ure of this second story to the more generalepistemological failure of skeptical postmodernism. As an alternative to orthodox linearnarratives, which reach closure only by concealing or denying inconsistent details, and to skeptical postmodern narratives, which never reach closure or even attempt to make sense of their details, ProfessorSherwin urges lawyers and legal scholars to engage in "affirmative postmodern" storytelling.