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| Tue Mar 7, 2017 | 12:09am EST African-Americans more likely to be wrongfully convicted: study By Jon Herskovitz | AUSTIN, Texas AUSTIN, Texas African-Americans are far more likely to be wrongfully convicted of crimes such as murder, sexual assault and illegal drug activity than whites due to factors including racial bias and official misconduct, a study released on Tuesday said. Of the 1,900 defendants convicted of crimes and later exonerated, 47 percent were African-Americans - three times their representation in the population - according to the study from the National Registry of Exonerations, which examined cases from 1989 to October 2016. The study also said black Americans were about seven times more likely to be wrongfully convicted of murder than white Americans. "In the murder cases we examined, the rate of official misconduct is considerably higher in cases where the defendant is African-American compared to cases where the defendant is white," said Samuel Gross, a University of Michigan Law School professor who is senior editor of the group that tracks U.S. exonerations. He said unconscious bias, institutional discrimination and explicit racism, were factors in some of the wrongful convictions. When it comes to drug crimes, black Americans are about 12 times more likely to be wrongfully convicted than innocent white people, the study said. A separate study from the same group also released on Tuesday showed that 2016 set a record for known exonerations in the United States since 1989 at 166, up from 160 cases in 2015. Nearly 60 of exonerations came from Texas, the most of any state, where district attorneys in the counties that include Houston and Dallas have set up integrity units to examine prosecutions for possible problems.
As Crawford puts it while searching for a role,Everything written for women seemed to fall into just three categories: ingenues, mothers, or gorgons. As I watched the first five episodes of Feud, I found myself thinking as much about how the series fits into Murphys larger project of explaining America as about the feud in question. This phase of Murphys career is relatively new; FX ordered the first installment of American Crime Story in late 2014, and of Feud in 2016.These being Ryan Murphy productions, though, this aspect of his empire is expanding rapidly.The next three seasons of American Crime Story have already been set, and will focus, respectively, on the aftermath of Hurricane Katrina ( Matthew Broderick is set to play feckless Federal Emergency Management Administration director Michael D. Brown ), the murder of fashion designer Gianni Versace , and Monica Lewinskys relationship with former President Bill Clinton and the aftermath. Feud has been renewed for a second season, which will focus on the enmity between Prince Charles and Princess Diana . Taken together, American Crime Story and Feud seem like an attempt to establish a canon, a set of defining historical and cultural moments that are essential to understanding the American for the most part character.The best way to describe this project is probably to say that Murphy is making a bid to be a campier Ken Burns , an auteur who establishes what events are important, and then explores and reframes those events through a distinct visual style and worldview. Acomparison between these two very different artists might be a little jarring. Burns is a documentarian, while Murphy tells both purely fictional stories and fictionalized versions of history. Burns is 36 years into his exploration of American history, while, as Ive mentioned, Murphys project is relatively new. Burnss work is defined by sincerity, while New York Times television critic James Poniewozik wrote in his review of Feud that the dominant mode of Murphys storytelling is campathy, a fusion of camp and sympathy. Katrina: American Crime Story will be Murphys first major foray into the sorts of major disasters Burns has handled with sensitivity and intelligence since The Civil War. But Murphys penchant for perfectly-centered shots and his sense of color are almost as immediately identifiableas Burnss use of pans and tilts to bring still photographs to vivid life , a technique so distinct and popular that there is actually a tool in Apples Final Cut Pro editing software that apes theeffect .
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