Seeing Police: Cinematic Training And The Scripting Of Police Vision

While contemporary ethnographies on policing describe the use of televisual and cinematic images as ancillary police training materials (Manning 2003; Moskos 2008), few studies have examined how these visual texts shape the practice of patrol work. One of my primary aims as an ethnographer is to find different ways of understanding everyday policing by bringing the materials that construct officers' visual worlds under ethnographic analysis. These materials include cinematic images used in police academies to teach police recruits how to see like police officers. Attending to cinema's mobility in training facilities where trainees learn how to screen situations, bodies, and encounters in the field can offer new insights into understanding police vision. I proceed with the knowledge that Antoine Fuqua's 2001 film Training Day has been screened in San Diego's police academy. While Training Day reproduces the kinds of visual practices that are part and parcel of policing praxis, I argue that an ethnographic reading of the film offers critical insight into what happens when an idealized police vision "meets the ground" in practice. I explore the productive tension between cinematic models like Training Day and everyday patrol work through an analysis of the "precarious cinema" of policing, a concept I use to understand how police officers' engagements with Training Day reflect and reveal a mode of police vision that is often blind to the experiences of the policed, and the performance of ethnography as a visual profiling practice that offers new conceptual frames for approaching how these blinds spots manifest in the visual worlds of patrol officers. In a time when police violence and police brutality are invariably subject to the camera's scrutiny and a scrutinizing public, the political stakes for an increasingly visible police vision include contending with, accounting for, and being answerable to its own visibility.