Volume V Issue III
description
Transcript of Volume V Issue III
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Contents
WHATS SPRAY PAINT GOT TO DO WITH IT?P. Anthony Arias, Columbia University 1
AMERICAN ADVERSARIAL TRANSPLANTS IN THE ITALIANCRIMINALJUSTICE SYSTEM:AN ANALYSIS OF ITALIAN ANDAMERICAN CRIMINAL PROCEDURE THROUGH THE AMANDAKNOX TRIALClaire Callahan, American University 23
IN SEARCH OF A PRACTICAL PHILOSOPHY OF PUNISHMENTSamuel Datlof, Brandeis University 56
THE RIGHT TO SEXT:ANALYZING THE CONSTITUTIONALITYOFJUVENILE PRODUCTION AND TRANSMISSION OFSEXUALLY EXPLICIT MATERIALSMelissa Duncan, Ohio State University 75
THE REGULATION OF FIREARMS AFTER HELLERAlexander Fullman, University of Southern California 87
DETERRENCE AND CAPITAL PUNISHMENT:THE GREAT DEBATE
Alana Joyce, Loyola University Chicago 103
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Information about theWashingtonUndergraduate Law Review
The Washington Undergraduate Law Review, a journal devoted to thescholarly discussion of legal subjects, is edited and produced byundergraduates at the University of Washington. Our purpose is toencourage and provide an outlet for undergraduates with an interest inthe field of law. The Washington Undergraduate Law Reviewprovidesstudents the opportunity to present a tangible culmination of theirhard work, either as contributors to the journal or as officers on the
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Masthead
Editor-in-ChiefAmanda C. Lui
Executive EditorsAshley D. BurmanAshley M. LindseyVanessa M. Stone
Juliya M. Ziskina
EditorsMoe Aoki
William AspelinLucas Barash-David
Conor Bronsdon
Max BurnhamChristopher GarlockJacob GarnerDanny Gibson
Hanna GiuntiniAlyssa Harkins
Nicole Hill
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Leo (Yexuan) Zhang
MembersMichael FulwilerMorgan Fiander
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Volume V Spring 2012 Issue III
ARTICLES
What's Spray Paint Gotto Do With It?An Analysis of Graffiti as Symbolic Speech
By P. Anthony Arias*
There have been a multitude of cases on the validity of graffiti as aprotected source of expression in the United States. These variouscases are suitable for analyzing the debate surrounding thelegality of graffiti. This paper demonstrates the distinctionbetween free speech and vandalism as it applies to graffiti assymbolic speech in the United States. In particular, it shows that
artists have a first amendment right to produce graffiti undercertain circumstances. This paper argues that graffiti should notbe considered purely vandalism. This analysis is in no wayintended to promote more relaxed laws against graffiti or createa potential legal framework for graffiti. Instead, it seeks tounderstand graffiti in the context of symbolic speech. The historyof graffiti is rich, valuable, and deserves better understanding in a
larger constitutional context. By analyzing the factorscontributing to the success of the most important Supreme Courtcases involving symbolic speech, this paper applies the Court'slogic of protected symbolic speech to graffiti.
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*Paul Anthony Arias is a senior at Columbia University in the City of New York wherehe majored in Political Science with a concentration in Latin American and CaribbeanStudies. In his free time he is a member of the Undergraduate Recruitment Committee, ahead SAT instructor for the Double Discovery Center, an executive board member of theColumbia Child Rights Group, and an avid user of Netflix. After graduation, he has plansto work for a New York City law firm for two years, before eventually applying to lawschool.
Table of ContentsINTRODUCTION 2
I:THE ORIGINS,TYPES,AND MODERN DAYPERSPECTIVES OF GRAFFITI 5Ia. History of Graffiti 4Ib. Proponents and Opponents of Graffiti 7II:GRAFFITI'S PLACE IN THE LEGAL SYSTEM 9III:COURT CASES INVOLVING GRAFFITI 13IV:SUPREME COURT CASES AND GRAFFITI 16IVa. Supreme Court Cases 16
IVb. Supreme Court Cases Applied to Graffiti 19
INTRODUCTION
Driving down the seawall that lines the city of Montevideo,
Uruguay, it is difficult not to be drawn to the abundance of colorful
illustrations and simple "tags"1that are scattered across the citys
infrastructure. Indeed, from Montevideos outskirts to itsdowntown city, graffiti ranging from slogans of political parties to
names of Uruguayan soccer teams can be found on statues, park
benches, city dumpsters, and even the exteriors of houses
throughout this South American city. Not all of it is political, nor is
it all pretty by any means. Outside of the many political or sports-
related expressions, the graffiti may beand often isnothing more
than a poorly scribbled word or two. It can often be obscene ordisrespectful, with curse words and verbal attacks on institutions
such as the police or the government. However, no matter how
1The act of scribbling ones name, nickname, or some other identifying symbol.
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insolent, libelous, or downright unsightly the tags may look, they are
legal by Uruguayan standards of free speech. This concept of free
speech as written in the Uruguayan constitution does not differmuch from that of the U.S. Constitution. The Uruguayan
constitution, in line with United States of Americas First
Amendment, explicitly provides for the freedom of speech.2
Yet, when examining an American equivalent such as New
York, it is nearly impossible not to wonder why graffiti is still so
criminalized in the U.S. when it can also serve as a powerful andeffective tool for symbolic expression as it does in Montevideo. Even
companies have used graffiti to advertise for their products. As
recently as 2005, SONY used a series of graffiti drawings in a
marketing campaign for its handheld PSP video game console.3
There have been a multitude of cases on the validity of graffiti as a
protected source of expression in the United States. By examining
2URUGUAYAN CONST. art. 29. "It is entirely free in all matters the communication of
thoughts through words, written privately or published in the presswithout previouscensorship."3Graffiti ads spark debate in US, BBC (Dec. 29, 2005),http://news.bbc.co.uk/2/hi/americas/4567236.stm.
Photos of graffiti in the capital of Uruguay. All photos are the property of PaulAnthony Arias, 2011. Translations from the top: El Bolso runs it, andEncouragement, my friends, for the life can be more!
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specific court cases that have pertained to symbolic speech, as well
as recent cases pertaining to graffiti, this paper analyzes the
distinction between free speech and vandalism as it applies tograffiti as symbolic speech in the United States. In particular, it asks:
do citizens have a constitutional right to produce graffiti under the
First Amendment of the United States Constitution, and if so, under
what circumstances?
The study of graffiti is useful in the designation between
where free expression ends and vandalism begins. Graffiti itself has
garnered the attention of courts all across the United States inresponse to the significant amounts of money spent on reducing its
presence in society. However, should municipal governments be
successful in their fight to eradicate graffiti, it is quite possible that
an important source of symbolic speech would be eliminated.
This paper proceeds as follows: in part one, the origins and
types of graffiti are examined, and arguments for and against graffiti
are introduced. Part two contains a discussion of current lawsregarding graffiti usage and its place in the legal system. In part
three, prior court cases pertaining to graffiti are described. Part four
provides an overview of several pertinent Supreme Court cases in
order to identify which aspects contributed to the plaintiffs
successful (or unsuccessful) protection under the First Amendment.
These various examples will illustrate that graffiti should
not be looked at purely as vandalism. When one acknowledges thespecific differences between speech and vandalism, then there exists
a definite reason for the protection of graffiti under the First
Amendment. In particular, when graffiti is legally4placed on a
property, contains expressive political messages, and has sustained
public support, it becomes clear that individuals have a
constitutional right to create graffiti.
4For graffiti to be legally placed, it must be done so with the permission of the owner.
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PART I:THE ORIGINS,TYPES,AND MODERN DAY
PERSPECTIVES OF GRAFFITI
Ia. History of Graffiti
Graffiti as a concept and practice has outlasted civilizations.
The Mayans displayed street art dating back to 100 B.C.E.5 Evidence
of graffiti was also found on the preserved walls in Pompeii.6Graffiti
as we know and observe it today in urban surroundings dates back
to a more recent decade when artists such as Steven Ogburn began
their endeavors on subway trains during the 1970s and 80s.7
Thegraffiti that Ogburn, also known as Blade, created was known as
New York Style graffiti writing.8This type of writing was defined
originally as the act of stylizing ones name in a brand-like way.9Due
to this emphasis on the name, writing itself did not originally focus
so much on forming a background or scene so much as a brand. In
addition, throughout the same time period, much of this style of
graffiti that took place was not removed. The fame of a writer, theperson doing the graffiti, became based upon the circulation of their
graffiti. As Blade describes, You could be in the middle of a full-
court game, running up and down, but when you heard the train
coming, everybody stopped to see what pieces go by.10The more
frequently the community saw the writings, the more popular that
graffitist became.
The tools available for graffiti have evolved throughout thedecades; modern styles such as New York-style graffiti originated
from teenagers with access to no more than permanent markers. In
the 1970s, when aerosol technology became environmentally safer,
5Marisa A. Gomez, Note,The Writing on Our Walls: Finding Solutions Through DistinguishingGraffiti Art From Graffiti Vandalism, 26U.OF MICH.J.L.REF. 633, 636-37 (1993).6George C. Stowers, Graffiti Art: An Essay Concerning the Recognition of Some Forms of Graffiti asArt, U.OF MIAMI(1997), available at http://www.graffiti.org/faq/stowers.html.7Richard S. Chang, An Artists Career Writ Large, with Spray Cans on Subway Trains,N.Y.TIMES, Apr. 29, 2011 at 1.8STOWERS, supra note 7, at 1.9Id.10Id.at 3.
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the sale of spray-paint became more popular. The increased
availability of spray-paint to teenagers led to a more advanced
graffiti movement where writers could focus on the size and color ofthe artwork.11No longer was it enough to have ones name scrawled
over any available and visible surface because everyone was doing
this.12This technique of scribbling ones name or nickname, known
as tagging, became embodied in the overall movement of New York
City graffiti in more functional ways. These tags were not meant to
be aesthetically pleasing by any means. Instead, they were utilized
as markers of ones presence in an area and have been estimated toaccount for more than eighty-five percent of a citys graffiti.13
These tags could also be taken to form another style of
graffiti often employed by gangs to signal territorial distribution or
the neighborhood news. This gang graffiti, as scholar Lori L.
Hanesworth categorizes it, could be used to mark territory, to
insult other gangs, to warn away intruders, and to eulogize their
dead.14This form, like tags, is not considered a form of moreadvanced graffiti art because it does not attempt to produce any
aesthetic effects on viewers and is often not created by experienced
artists.15
A third type of graffiti is known as a piece. A piece is
typically the size of a mural, multi-colored, and it involves original
or familiar cartoon characters in addition to the writer or graffiti
artists name.16For these kinds of pieces the main goal is not simplyto get ones name in an area, but rather to aim for a unique style and
display of artistic talent. Graduate student George Stowers of the
University of Miami states that The goal was and is to create
11Id.at 2.12Id.13Lori L. Hanesworth,Are They Graffiti Artists or Vandals? Should They Be Able or Caned?: A Lookat the Latest Legislative Attempts to Eradicate Graffiti,6 DEPAULJ.ART &ENT.LAW, 225, 226(1996).14Id.15Stphanie Giry,An Odd Bird,Legal Affairs Magazine, Sept. 2002, availableathttp://www.legalaffairs.org/issues/September-October-2002/story_giry_sepoct2002.msp.16STOWERS, supra note 7, at 2.
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pieces that stand out because of creativity, color, vibrancy, crisp
outlines and overall artistic appeal.17Piece graffiti is employed by
graffitists who seek to create an outlet for the expression of politicalor societal commentary, and who view graffiti as something that
aims to beautify what would otherwise be a desolate and neglected
sight. The essence of pieces, which aim to express and deliver
messages, is different from tags because they require a high skill set
and artistic experience. In fact, due to their general rarity, it is
estimated that pieces only account for five percent of all graffiti.18
Those who became well known for their pieces becameacknowledged as "kings and queens" of local graffiti crews.19
A critical component of all types of graffiti is its location.
One graffitist writes of the visibility of the work and about the
originality or history of the space.20For instance, a piece that is
done on a bridge overpass is more valuable than one done on the
blacktop of an empty parking lot due to the higher volume of
observers that an overpass would have relative to the parking lot.When graffiti is done within locations that carry a special
connotation or history such as the Freedom Tunnels in New York
City,21it can also increase the value of the graffiti. Thus, as graffitists
pursue high visibility or historic spaces, a large portion of the
problems surrounding graffiti, regardless of how expressive or
artistic it is, becomes its placement on public and private properties.
As noted by Tomasz Rychlicki, a legal scholar on internationalintellectual property law, The basic problem in the case of illegal
graffiti is the conflict between the rights of the owner of the object
and the creator himself.22In fact, Blade himself had to confront such
17Id.18HANESWORTH, supra note 14, at 227.19STOWERS, supra note 7, at 2.20Caleb Neelon, Critical Terms for Graffiti Study(2003), http://www.graffiti.org/faq/critical_terms_sonik.html.21Located beneath Riverside Park, the Freedom Tunnel is an abandoned train tunnelwhose walls are nearly covered in notable works of graffiti.22Tomasz Rychlicki, Legal Questions About Illegal Art, 3 J.OF INTELL.PROP.L.&PRAC. 399(2008).
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a reality. He describes his transition from a graffiti artist to a gallery
artist: once he began to sell his pieces to art collectors, he was told
to not write on public property again. That was [the art collectors]way of saying, Grow up, Blade states.23
1b. Proponents and Opponents of Graffiti
Walking through the subway station at Times Square in
New York City, and indeed any public domain, it is easy to notice
the abundance of private advertising that now occupies publicspaces of society. For instance, the station at Times Square is filled
with advertisements for television channels, liquor, Hollywood
movies, and many other products. Such public areas prime
locations for sending messages to society have been rented, which
prevents other individuals from utilizing them. Such an observation
is also pointed out by Sonia K. Katyal, a law professor at Fordham
University, who states that public spaces have become convertedinto vehicles for corporate advertising.24People are surrounded by a
market place in which only those who can pay, such as large
corporations, can participate while others, like graffiti artists, have
limited access to certain areas that are prime locations for the
expression of ideas.
Graffitists seek the same coveted spaces as private
companies, and it is along these walls and subway halls that theyoften face charges of vandalism when utilizing them for graffiti.
Billboards are a prime example of a purchased area in the public
domain used for sending messages. A group, known as the Billboard
Liberation Front, seeks out billboards to alter and vandalize in an
attempt to democratize such advertisements. Although this group
does not use conventional modes of graffiti, they do seek to express
messages in the public domain much like graffitists do.25
23CHANG, supra note 8, at 1.24Sonia K. Katyal, Semiotic Disobedience, 84 WASH U.L.REV. 3, 491 (2006).25Id. at 494.
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Criticism of mainstream advertising is not limited to actions
by the Billboard Liberation Front. One proponent of graffiti writes,
It is, for instance, perfectly legal for Calvin Klein to installbillboards of a rail-thin female model who is adolescent in either age
or appearance. That such displays encourage anorexia, bulimia, and
statutory rape is well-documented. Cigarette and alcohol companies
can advertise their products. Their products can kill people and can
destroy families.26Other supporters of graffiti have noted the
benefits of graffiti art as a vehicle for expression. Graffiti art,
particularly in Los Angeles, has been documented as something topromote anti-drug sentiment in communities and to celebrate
cultural heritage, among other purposes.27One contemporary artist,
David Choe, has utilized graffiti murals for purposes as diverse as
decorating the interior of the Facebook headquarters28to honoring
those who have suffered abuse, such as a seventeen year old Chinese
student who was brutally beaten by six individuals in Chicago.29To
certain graffitists, such as Blade, graffiti contributed to their abilityto gain recognition as artists.30
Opponents of graffiti cite negative consequences that occur
as a result of its usage. For instance, they suggest that the costs of
graffiti are not limited to cleaning public and private property that
has been tagged.31Marisa Gomez of the University of Michigan Law
School, writes that in the early 1990s millions of dollars were spent
by both private and public companies in order to not only cleangraffiti, but to expand security presence in the area and purchasing
more cameras for increased surveillance.32Many have also stated
that graffiti causes an increase in gang activity and is a sign of urban
26NEELON, supra note 21, at 2.27GOMEZ, supra note 6, at 639.28SeeKatie Kindelan, Facebook IPO Turns Graffiti Artist David Choe into Multi-Millionaire, ABCNEWS(Feb. 2, 2012).29See Alex Maeland, David Choe Immortalizes Beat Up Chicago Teenager,HYPEBEAST (Jan. 18,2012).30CHANG, supranote 8, at 3.31GOMEZ, supranote 3, at 653.32Id. at 654.
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decay.33Opponents of graffiti also state that promoting such a form
of art only increases its misuse and therefore it should be banned
entirely, regardless of the writer's influence.34
Such an effectoccurred in April 2011 when a museum in Los Angeles promoted an
Art in the Streets exhibition, which sought to provide one of the
largest museum surveys of graffiti art.35The exhibition led to an
influx of tagging and graffiti vandalism in the surrounding
neighborhood.36Thus, to some opponents, such as Jack Richter of
the Los Angeles Police Department, the only way to manage the
increased cost of not only clean-up but also preemptive anti-graffitimeasures, is to stop street graffiti altogether. "As former Chief
[William J.] Bratton was fond of saying, he quoted, "'if you want to
be an artist, buy a canvas.'"37
PART II: GRAFFITI'S PLACE IN THE LEGAL SYSTEM
Blade had been warned by his agent not to place pieces onpublic or private property. If he had continued to place pieces on
public property, the question remains: would there be any
circumstance under which his actions would be constitutionally
protected? The Supreme Court case of Texas v. Johnson ruled that an
individual who had broken the law by burning a flag was protected
under relevant precedent.38The issue of graffiti is parallel to this
case. Works of graffiti on public and private property are illegalunder state laws. However, such pieces can be considered symbolic
in terms of expression just as the burning of the flag was in Johnson,
despite breaking pertinent laws. A counterargument can be made
that theJohnsoncase is an illogical comparison. InJohnson, the
33Id.34Id. at 651.35Randy Kennedy, Street Art Show in Los Angeles Attracts Graffiti Nearby, N.Y.TIMES, April15, 2011.36 Id.37Martha Neil, Graffiti Exhibit in LA is Magnet for Taggers and Cops; At Least One Artist Detained,A.B.AJOURNAL(Apr. 20, 2011).38Texas v. Johnson, 491 U.S. 397, 402-420 (1989).
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plaintiff had used his own flag in order to undertake his intended
action. In graffiti cases, many of the situations are not only illegal,
but on someone elses property. In order to better understand theimplication of graffiti on private and public property, it is necessary
to be familiar with graffiti and its place in the legal context.
There are a variety of tactics used by law officials in
response to graffiti vandalism. One method is punitive action, such
as criminal prosecution and penalties, including jail time for the
individuals caught trespassing or intentionally destroying
property.39
In fact, California nearly passed a paddling bill in theearly 1990s, which would have mandated that individuals caught
writing were to be subject to ten strikes by a thick, wooden
paddle.40It never came into effect due to a separate legislative
counsel finding the action of paddling as cruel and unusual
punishment.41Yet, as noted by Gomez, criminal prosecution is
difficult as the judicial system may often be crowded with more
serious crimes, overcrowded jails, and a belief in the moral goodnessof the young violators.42Therefore, graffitists are not commonly
incarcerated.
An alternative penalty for combating graffiti is community
service in the form of graffiti clean-up.43Community service is
beneficial to the state because it lessens the financial burden of anti-
graffiti enforcement because a perpetrator handles the responsibility
of cleaning.44It is also more useful as a legal resource as judges aremore likely to impose this type of sentence on violators. Municipal
governments may also resort to a third measure: passing laws that
would prohibit the sale of spray paint to minors, or determining
where felt tip markers can be located within a store, such as
39GOMEZ, supra note 6, at 658.40HANESWORTH, supra note 14, at 232.41Conroy Wants Paddle Opinion Reconsidered, 1994 LOS ANGELES TIMES [SACRAMENTO],June28, 1994.42GOMEZ, supra note 6, 659.43Id.at 666.44Id.at 667.
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whether these items are behind locked glass or in open view.45
Governments have not exclusively taken these measures, but they
are the most common.46
Regardless of the methods used in an anti-graffiti campaign,
the question of whether graffiti has any source of protection under
the current legal system can be addressed. Michelle Bougdanos, an
associate at the United States Security and Exchange Commission in
Florida, attempts to address this question by creating a hypothetical
case involving a complex scenario.47In this scenario, a highly
talented graffiti artist, John Sol, has taken it upon himself to create apiece on an abandoned building. After seeking out the records for
the owner of the building to receive permission for the mural, Sol
cannot find any records for the owner of the site. Despite this
setback, Sol continues with the graffiti mural, which depicts an
image emphasizing the importance of education and an anti-drug
statement. The mural, after being completed, is highly praised by the
community. However, after several years have passed, the buildingbecomes part of the governments reurbanization project and thus
the government intends to destroy the building as well as the mural.
After Sol raises a complaint, the local officials refuse to preserve the
art, and threaten him with charges of vandalism for illegally placing
graffiti on the building. Sol sues the government under the Visual
Artists Rights Act (VARA) to protect his work. To receive the
protection of VARA, Sol must demonstrate that his mural is both awork of visual art, and that it has recognized stature.48
According to US copyright law, visual art as defined by
United States Code in Title 17 Chapter 1 101 is a painting, drawing,
print, or sculpture, existing in a single copy, in a limited edition of
200 copies or fewer numbered by the author and bear the
45Id.at 675.46Id.at 668.47Michelle Boudagnos, Note,The Visual Rights Act and Its Application to Graffiti Murals: WhoseWall Is It Anyway, 18 N.Y.L.SCH.J.HUM.RTS. 549-550 (2002).48Subject Matter and Scope of Copyright 101-106, 17 U.S.C. (1991).
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signature or other identifying mark of the author.49 To fill the
second requirement of recognized stature, a piece must be
considered worthy of merit and recognized by surroundingcommunity individuals as a qualitative contribution to society.
The other significant factor in regards to whether Sols
graffiti warrants protection is its location. Due to the often-
controversial locations that graffitists choose for their art, the divide
between vandalism and artistic expression becomes difficult to
distinguish. However, VARA technically classifies a graffiti mural as
visual art and can override the constitutional rights of a propertyowner to a certain extent. As explained by Bougdanos, VARA
requires that "the owner of a building which contains visual art
must respect the moral rights of the artists; the VARA infringes
upon the constitutionally granted property rights of the owner.50
These moral rights, which make damage to the artwork the
equivalent of damage to the individuals reputation, prevent a
distortion, mutilation, or other modification of the work whichwould be prejudicial to his or her honor or reputation.51Yet, this
protection only applies for works that were commissioned and not
illegally placed without the knowledge or consent of the owner of
the property. Such a requirement is explicitly highlighted under
New York administrative law as written: "No person shall write,
paint or draw any inscription, figure or mark or affix, attach or place
by whatever means a sticker or decal of any type on any public orprivate building unless the express permission of the owner or
operator of the property has been obtained."52
Indeed, the definition of visual art in the US Code may be
construed to extend to graffiti art, such as that of Sols, especially
when such an emphasis is put on the requirement that the work be
signed and claimed by the author of the piece. The second
49Id.50BOUGDANOS, supra note 48, at 557.51Id.at 556.52N.Y. ADC. LAW 10-117: NY Code - Section 10-117 [hereinafter N.Y. ADC LAW].
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requirement of recognized stature is not a difficult test for Sol to
pass either, since his work was highly appreciated in the community.
However, Sols actual trouble in guaranteeing protection for hisgraffiti mural begins with the location of the piece. In his case, since
his work was placed illegally on the building, it is highly unlikely
that the courts would rule in his favor.53In fact, he is fortunate that
the local law enforcement officials have not gone through with their
charges of vandalism. Although Sols scenario is hypothetical, there
are a variety of cases that can be analyzed in order to verify whether
his case translates from theory to practice.
PART III: COURT CASES INVOLVING GRAFFITI
Recently, the case of Vincenty v. Bloombergconsidered graffiti's
place in society in the context of freedom of speech.54In this case, a
group of high school and college students sued New York City for
its Administrative Code 10-117(c) and (c-1).55Under thislegislative action, the sale of aerosol spray paint containers and
broad-tipped indelible markers would be banned to anyone between
the ages of eighteen and twenty-one.56Under the provision, violators
would have been given:
A misdemeanor punishable by a fine of up to $500
and/or imprisonment for up to three months; asecond or successive violation of the provision is aClass A misdemeanor punishable by a fine of up to$1,000 and/or imprisonment for up to one year.57
The defendant, New York City, admitted to enacting such
legislation in an effort to continue its anti-graffiti campaign and to
combat the widespread problem of the unauthorized placement53Id.54Vincenty v. Bloomberg, 476 F.3d 74, 89 (2d Cir. 2007).55N.Y. ADC. LAW, supranote 53.56Vincenty, 476 F.3d at 89.57Id.at 15.
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of graffiti on the property of another.58The plaintiffs argued that
such a provision was unconstitutional because it both restricted
their first amendment rights to free expression, and also violated theright to equal protection of the individuals because it targeted a
specific age group in its provision. During the testimony, the
defendants argued that the legislation was narrowly tailored" in
that it aimed at only certain part of the population, and content
neutral because it did not proscribe any freedom of expression, but
only the unlawful graffiti itself.59They then expressed that graffiti
was a substantial problem, supported by the fact that six thousandindividuals were arrested for graffiti vandalism between 2003 and
2006.60Furthermore, they stated that between 2002 and 2005 the
city had cleaned graffiti from 67 million square feet of property.61By
enacting this legislation, the city only aimed to reduce the amount of
crime in the city and therefore it was in the government's interest to
enact such a provision.
One of the plaintiffs, Lindsey Vincenty, then a collegestudent studying the visual arts, remarked that not being able to use
such instruments limited his ability to express herself in her classes.
She emphasized the distinct qualities of spray paint as a tool and
contended, Spray paint covers differently than other paints applied
with a brush, such as mists, fades and blends. It dries faster, so I can
layer more quickly.62The plaintiffs also argued that even
illegalizing the possession of certain artistic tools would cause artstudents or individuals interested in art to be at risk of violating the
law since they would have to be in possession of the items to and
from school and home.63
58Id.at 1.59Id.at 31. Defendants argued that 10-117(c) and (c-1) are content neutral, do notproscribe any First Amendment activity, and are narrowly tailored responses to theproblem of unlawful graffiti and to the experience that 15-20% of the persons violatingthe anti-graffiti provisions were 18-20 years of age."60Id.at 30.61Id.at 29.62Id.at 19.63Id.at 7.
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Ultimately, the judge sided with the plaintiffs, ruling that
the law did indeed violate the first amendment rights of Vincenty et
al.64
Shortly after, New York City appealed, contending that thecourt had not developed a valid explanation in regard to how the
plaintiffs had established a likelihood of success on the merits of
their first amendment and equal protection claims. The successive
judgment in the appeals case sought to further scrutinize the narrow
tailoring dynamic of the court case. The Court of Appeals wrote,
Narrow tailoring in this context requires, in other words, that the
means chosen do not burden substantially more speech than isnecessary to further the government's legitimate interests. 65On
these grounds, the original ruling was affirmed in the Court of
Appeals, because the court maintained that the regulation would
restrict the first amendment freedoms of too many individuals in the
effort to stop an isolated group of perpetrators.
Additionally, English v B.F.C. & R. East 11thStreet LLC is a case that
directly involves a graffiti piece placed on the walls of a privatelyowned building.66The English case involved five separate graffiti
murals done by six different artists surrounding an emptied
community garden. After the graffiti was created, the garden lot
soon became commissioned as the new spot for the construction of a
building for the city. The artists petitioned under the Visual Artists
Rights Act of 1990 and declared that construction in the area would
be illegal because it would result in the obstruction of a work that
the artist had the moral rights to.67Moral rights are defined under
the requirement that the art is personal to the authors, and as such,
viable, separate, and apart from the proprietary aspects. 68Under
that definition, even if the author was not entitled to the economic
rights of the art, any damage to it would be prejudicial to the artists
64Id.at 35.65Id.at 19.66English v. CFC & R East 11thStreet LLC, No. 97 Civ. 7446, 1997 WL 746444 (S.D.N.Y. 1997),affd, 198 F.3d 233 (2d Cir. 1999).67See17 U.S.C. 101, 106A (1991).68BOUGDANOS, supra note 48, at 555.
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reputation. Ultimately, despite the protection of the graffiti murals
under VARA, the Court still found that VARA was inapplicable
because the murals had been illegally placed without the knowledgeor consent of the owners of the buildings. This case highlights the
importance of property ownership and obtaining the respective
owners permission before pursuing an act of graffiti, regardless of
how expressive or symbolic it may be under the First Amendment.69
Another case that directly involves the placement of a
graffiti mural is that of Hanrahan v. Ramirez.70In this case, a liquor
store owner was sued for painting over a mural done by Hanrahanand several children in the neighborhood. The owner painted over
the display in order to create an advertisement for the store.71
Hanrahan sued under the auspices of VARA, stating that the
artwork, which had received an award and considerable community
support, was of recognized stature, a necessary requirement for
VARAs protection. He argued that the mural therefore could not be
damaged without the artists consent. The judge ruled in favor ofHanrahan and the mural was soon restored. Permission of the owner
is crucial when seeking protection under VARA as confirmed English
v. B.F.C. & R. East 11thStreet LLC. However, Hanrahan v. Ramirez
illustrates the potential for community support and approval to
override such a requirement through garnering recognized stature.
PART IV:SUPREME COURT CASES AND GRAFFITI
IVa. Supreme Court Cases
Although the hypothetical case of Sol and the actual case of
English did not successfully receive protection through VARA, it
could still be considered whether the outcomes would have been
different if the individuals had sought protection through the FirstAmendment. Under the First Amendment of the United States,
69Id.at 563.70Hanrahan v. Ramirez, No. 97-CV-7470 (C.D. Cal. June 3 1998).71Id.at 564.
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Congress cannot pass any law that restricts or abridges freedom of
speech,72but that does not mean that any individual's speech or
actions are completely unrestricted. This principle has been aptlydemonstrated in the Supreme Court case of United States v. O'Brien.73
OBrien, after burning his draft card in an attempt to speak out
against the Vietnam War, was still found to have committed a
criminal act despite the Court's acknowledgment that he engaged in
symbolic speech by burning the draft card. Similarly, graffiti, which
is a form of expression in which writers choose to express
themselves through actions rather than words falls under the sameclassification of symbolic speech as burning the draft card in United
States v. OBrien.74
The majority opinion in the O'Brien case, wary of
putting limitations on symbolic speech, stated that such speech
could be regulated under the conditions that: the regulations were
promoting a vital government interest, the regulation was not done
to directly limit free speech, and most importantly, that theincidental restriction on alleged First Amendment freedoms is no
greater than is essential to the furtherance of that interest.75
In Spence v. Washington, the appellant was a college
student who had been arrested for improper use of the United States
flag after hanging it upside down from the window of his home with
a peace symbol taped to it.76Spence fought the states conviction,
invasion of Cambodia and thecontending that he was protesting the
, which had occurred only a fewKent State Universitykillings at
days before.77The Supreme Court applied and modified the
by developing certain. They did socaseOBrienprecedent from the
criteria to determine more specifically which instances of symbolic
speech were to be afforded protection under the First Amendment, a
72U.S. CONST. amend. I.73United States v. OBrien,391 U.S. 367 (1968).74HANESWORTH, supranote 14, at 229.75OBrien,391 U.S. 367.76Spence v. Washington, 418 U.S. 405 (1974).77Id.at 9.
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set of guidelines ultimately becoming known as the "Spence test."78
As Hanesworth explains in regards to the standards of such a test,
the conduct must have (1) the intent to convey a particularizedmessage and (2) the likelihood must be great that this message
would be understood by those who viewed it.79
In addition to clarifying what motivations or intent might
constitute graffiti as symbolic speech under the First Amendment,
the Spence case also provides an understanding of graffitis place in
the context of the First Amendment, especially in regards to its
location on public or private property. In Spence, the appellant hadplaced a flag upside down with a peace symbol taped to it outside of
his property. The flag was his private property and he only chose to
display his symbol directly outside of his apartment.80When
arriving at a decision on whether or not his speech was protected
under the First Amendment, the Court stated the following:
A number of factors are important in the instantcase. First, this was a privately owned flag. In atechnical property sense, it was not the property ofany government. We have no doubt that the State orNational Governments constitutionally may forbidanyone from mishandling in any manner a flag thatis public property. But this is a different case.Second, appellant displayed his flag on private
property. He engaged in no trespass or disorderlyconduct. Nor is this a case that might be analyzed interms of reasonable time, place, or manner restraintson access to a public area. 81
This aspect of privately owned versus publicly owned is
raised again as an issue in another Supreme Court case, United States v.
78Id.at 13.79HANESWORTH, supranote 14, at 229.80Spence, 418 U.S. 405.81Id.
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Eichman.82In this case, the defendant had burned an American flag in
Washington after the passage of theFlag Protection Act of 1989,
which prohibited such behavior even as a means of expression. TheCourt found the appellees prosecution of the defendant
inconsistent with the First Amendment. However, it specifically
acknowledged the importance of the property used for expression
being privately owned when it mentioned, in reference toSpence,that
a governments interest in protecting publicly owned flags might
justify special measures on their behalf.83In public realms, these
special measures include, but are not limited to, governmentproperty being constitutionally protected or the need of the
government to prevent disorderly conduct or trespassing. Thus, the
restrictions of expression in public are more severe than when
symbolic expression occurs with or on private property.
As both Spence and Eichman demonstrate, judges have placed
a strong emphasis on the fact that the form of expression was done
on ones own private property and with hisor her own flag. This
focus indicates that had Spence or Eichman chosen to express
themselves on public property or with a publicly owned flag, then
the Supreme Court may not have ruled in their favor. By focusing on
such a distinction in these cases, the Court has repeatedly made it
clear that when a person expresses his or herself in a public setting
using his or her own private property, then such acts of expression
have a higher likelihood of protection under the First Amendment.
Furthermore, the content of the plaintiffs' message is also
pivotal in determining whether expression is protected or not. A
deeper analysis of Spence leads to the conclusion that political
expression is a crucial component in gaining the support of the
majority of Supreme Court judges. In Spence, the appellant had
specifically altered the flag not in order to beautify it, but to expresshis concern with Americas invasion of Cambodia and the Chicago-
82United States v. Eichman, 496 U.S. 310 (1990).83Id.
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Kent killings. Spenceis not the only case in which political
expression was crucial to the acts protection as symbolic speech. In
Texas v. Johnson,Johnson had burned the flag in order to protest to thepolicies of the Reagan administration and several corporations in the
Dallas area.84Such an emphasis on political speech indicates that
political expression is an integral factor in ascertaining First
Amendment protection.
IVb. Supreme Court Cases Applied to Graffiti
As seen in the above cases, free speech is not absolute, and
contextual circumstances are essential in determining the outcomes
of rulings. This necessitates that the protection of an individuals
right to produce graffiti is carefully balanced against existing
criminal laws. Hanesworth estimates that nearly five percent of all
graffiti are pieces, which have an immense potential to serve as
outlets for expression or community enrichment.85The law should
ensure that these categories of graffiti that might be seeking to
create forums for political issues are not prosecuted and eliminated
under the singular category of graffiti vandalism. This specific type
of expression, especially if political, is protected under the First
Amendments guarantee of symbolicspeech.
Although theVincenty
case does not directly involve a case ofgraffiti, it provides useful insight into graffitis place in the context
of the guidelines established by the Supreme Court cases discussed.
In Vincenty, the Court continuously upheld the importance of
expression that graffiti allows. In line with the OBrienruling,
Vincentyalso established a basis for the regulation of the visual arts in
that a law cannot substantially restrict symbolic speech for the sake
of a governmental interest.
84Texas v. Johnson, 491 U.S. 397 (1989). "Johnson burned an American flag as partindeed,as the culminationof a political demonstration that coincided with the convening of theRepublican Party and its renomination of Ronald Reagan for President."85HANESWORTH, supranote 14, at 227.
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As demonstrated by the Hanrahancase, the recognition of
graffiti as a form of expression has the ability to infringe on the
property rights of another owner. However, Hanrahanis differentfromEnglishbecause the artist in Hanrahanhad specifically been
given permission by the owner of the property to create a graffiti
piece on the side of the building, whereas in English, the artist was
not. Furthermore, the graffiti mural in Hanrahan had recognized
stature; it had been given an award and was largely supported by the
community. In such a case, the graffiti piece as a message becomes
more valuable to the community than the physical worth of any
property.86With such a concept in mind, there are instances when
graffiti has the right to be kept on a property that is not the artists.
However, it must fulfill the requirements that it was legally placed
on the property, that it has recognized stature, and possibly that it is
political in nature. Thus, graffiti in and of itself, since it has the
potential to be political with recognized stature in the community,
is a form of expression that individuals have the constitutional right
to engage in.
86BOUGDANOS, supranote 48, at 564.
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American Adversarial Transplants
in the Italian Criminal JusticeSystem:An Analysis of Italian and American
Criminal Procedure through the Amanda
Knox TrialBy Claire Callahan*
Throughout the past century, the Italian criminal justice systemhas been accused of corruption namely from excessive uses ofjudicial power. This article analyzes the current Italian criminalcode enacted in 1988 vis vis American criminal procedurefocusing on the role of the judge. This comparison is valuablebecause the new Italian code of criminal procedure incorporatedseveral adversarial procedures modeled after the Americanadversarial model. The current Italian criminal code marks thefirst time in history that adversarial procedure and has been
incorporated into a traditionally inquisitorial justice system.Despite these recent reforms, however, the conviction ofAmerican exchange student, Amanda Knox, in 2009 invited thewestern world to scrutinize the state of the Italian criminaljustice system more than ever before. In order to provide anunderstanding of Italian law and the complexities of the Knoxtrials, this article investigates the differences between the
American adversarial model and the reformed Italian criminalprocedure. The culmination of this analysis reveals that despiteItaly's efforts to model the new code off of the American system,Italy's inquisitorial roots are still firmly implanted in its
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criminal procedure which is evident through the powers thejudges have retained.
*Claire Callahan is an award-winning honors scholar and a senior majoring in Law andSociety at American University. Originally from Mukilteo, Washington, Claire firstdiscovered her interest for European civil law while studying abroad in France in 2007,during which time Amanda Knox was arrested in Perugia, Italy. She presented herresearch on the Knox trials at the School of Public Affairs fifth annual UndergraduateResearch Symposium in April at American University. Claire currently resides inWashington, DC and plans to work as a paralegal upon graduation before attending law
school.
Table of ContentsINTRODUCTION 24I:THE ITALIAN CRIMINALJUSTICE PROCEDURE 26Ia. Fallout of the Rocco Code 26Ib. The Preliminary Investigation 28Ic. The Preliminary Hearing 31
Id. Pretrial Preparation: Plea Bargaining and Fast Track Trial 34Ie. The Trial Phase: Jury Selection 37If. Admissibility of Evidence 39Ig. The Trial 42Ih. The Appeals Process: Trial de novo 44Ii. The Adversarial Reforms 46II:THE AMANDA KNOX TRIAL AND THE INFLUENCE OF
JUDICIAL POWER 47IIa. Background of the Trial 49IIb. Criticisms of the Trial 49IIbi. Preliminary Hearing: Plea Bargaining 50IIbii. Preparing for Trial: Jury Selection 51IIbiii. Admissibility of Evidence 51IIbiv. The Trial 51
CONCLUSION
52
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INTRODUCTION
The Amanda Knox trial captured the attention of theWestern world when the young college exchange student was
accused of murder in Perugia, Italy in 2008. What makes this case
fascinating is not the grisly details of her roommate Meredith
Kerchersdeath; but rather the differences in law and procedure
Knox encountered in the Italian criminal court system. Surprisingly,
although the current Italian code of criminal procedure, known as
the Codice di procedura penale (hereinafter referred to as the CPP), hasmany adversarial components, it is hardly identical to American
criminal procedure in practice. This is largely due to the impressive
power Italian judges have traditionally enjoyed under Italian law.
In order to understand the friction between the Italian and
American systems regarding judicial powers, this essay will divide
the analysis of the Italian criminal justice system into two parts:
Part I will analyze the history of the Italian criminal justiceprocedure and the rise of the CPP out of the former Rocco Code of
1930. It will then critique some of the changes the CPP has made to
improve the image of the Italian justice system focusing on the
rights granted to the defendant in the preliminary hearing, the new
responsibilities bestowed upon the prosecution and defense in the
pretrial phase (including jury selection and the rules of
admissibility of evidence), the judges role during the trial, andfinally the appeals process. It is here that the problems, which arise
from the judicial powers that persist from the Rocco Code, will be
discussed in detail. Part II will investigate the Amanda Knox trial
as an example of the miscarriages of justice that may result from the
powers that Italian judges still retain from the former criminal code.
The culmination of this analysis will reveal how differently
Knoxs case was handled in the Italian system and how that
difference is due in large part to the greater powers the judge
possesses under Italian law. As the purpose of these
adversarialprocedures is in many ways inconsistent with Italys
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traditional civil law values, the reforms only result in superficial
regulations that are not always respected in practice in cases such
as the Knox trial.The application of these aforementionedprocedures in both criminal justice systems will reveal that Italy
has purposely adopted many American adversarial procedures to
remedy judicial corruption. However, it will also prove that the
nations attachment to greater judicial power through its civil law
tradition impedes Italian courts from performing these procedures
as they were designed to operate in the American system.
PART I:THE ITALIAN CRIMINALJUSTICE PROCEDURE
Ia. Fallout of the Rocco Code
Before delving into an analysis of the Knox trials, it is first
critical to assess the different applications of criminal justice
procedure between Italy and the United States. This analysis will
provide a necessary foundation to understanding the complexelements of the way the courts handled Knoxs case in Italy. The
strongest influence over Italys justice system that makes it so
different from the American adversarial model is its unique
historical background that stems from the Rocco Code of 1930. The
current Italian criminal code is relatively young compared to the
American criminal justice system. Before the Italian parliament
adopted the CPP in 1988, the Rocco Code prevailed for over fifty
years. While not overtly fascist,1the Rocco Code did bestow
greater powers on the judiciary rather than the opposing parties or
the defendant on trial. In fact, the Rocco Code did not provide
defendants many rights at all, least of all the right to counsel or the
ability to question evidence brought against him. Minister of
1Peter Neville, Mussolini (Historical Biographies) 74 (2003) (Alfred Rocco was appointedthe Minister of Justice under Benito Mussolinis fascist leadership. While Roccodrafted many repressive pieces of legislation that undercut individual liberties in orderto strengthen state authority during Mussolinis regime; the Rocco Code left most legalprovisions intact. Still, the spirit of state power over the individual persisted in theRocco Code, leaving many defendants defenseless against abuses of judicial power.).
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Justice Alfred Rocco, the drafter, rationalized that justice could
best be preserved by those deemed most knowledgeable and
trustworthy by the state the judges.2
However, many people considered the trials conducted
under the Rocco Code to be mere confirmations of the judges
suspicions raised during the investigation instead of an impartial
quest to discover the truth.3Not surprisingly, the European Court
of Human Rights denounced the Rocco Code for its abuses of
judicial power. The Court specifically criticized the provisions in
the code that resulted in excessive delays in scheduling preliminaryhearings, the powerless position in which it placed the defendant,
and the unchecked power of Italian judges. These judges wielded
great influence over cases in their dual post as fact finders and the
sole triers of fact in each case. Therefore, with no provisions in
place to check judicial power or provide the defendant adequate
protection, corruption flourished under the Rocco Code.
Influenced by this sustained international criticism, theItalian parliament enacted the New Criminal Code4(CPP) into law
on September 22nd, 1988. A series of cases5led the justices of the
Italian Constitutional Court to finally rule that defendants require
more protections in court, including the right to counsel.6Italian
2NEVILLE, supra note 1, at 74.
3Elisabetta Grande, Italian Criminal Justice,48.2 AM.J.COMP.L. 227, 227-259 (2000)(Historically, the European Court of Human Rights has adamantly critiqued the Italian
justice system calling it dysfunctional and corrupted by superficial reforms. Legalscholar, Elisabetta Grande, provides an excellent detailed analysis of the criticisms andreforms of the Italian criminal justice system in her article, Italian Criminal Justice.).4Alassandra Gualazzi, Notes on the Italian Criminal Procedure Code, Urbino University (Oct.12 2011), http://www.law.cam.ac.uk/faculty-resources/summary/notes-on-the-italian-criminal-procedure-code/6369 (Due to the fall of the fascist regime, it became necessaryto make certain changes to the criminal code. The current code of criminal procedurealso adopted many adversarial qualities in order to grant defendants more rights andrepresentation that were not made available in the previous inquisitorial system).5See GRANDE, supra note 3, at 227-259 (Before the adoption of the CPP, the publicprosecutor and the trial judge held substantial power over the fate of the defendantunder the Rocco Code of 1930. It was not until the Italian Constitutional Court ruledthat the defendant should have the right to participate in the pretrial procedure in aseries of cases between 1965 and 1972 that the defendant finally emerged from theshadows of the prison cell into the courtroom).6 See id.(However at this stage it was mostly just during the pretrial procedure).
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legislatures spent the next thirty years drafting the CPP to fully
resolve the problems that plagued the Rocco Code. During this
time, legislatures looked to the American criminal justice system asa model for their reforms.7But because aspects of the Rocco Code
are still so deeply embedded into their judicial structure, modern
day Italian judges struggle to maintain their power while
attempting to conform to the new regulations.
Ib. The Preliminary Investigation
Among the transplants that the Italian parliament
incorporated from the American adversarial model was the
shortened length of the preliminary investigation process.8In an
attempt to remedy the imbalance of power between the judge and
the defendant under the Rocco Code the CPP now restricts the
freedom judges have to extend these investigations. In the US, the
sixth amendment of the Constitution stipulates that a defendantwill enjoy the right to a speedy and public trial.9As such, there
are time constraints in place for preliminary investigations so that a
suspect is not held too long before being formally charged at the
preliminary hearing or arraignment. This time constraint, though
able to be extended in some cases, insures that the judge does not
have limitless power to delay a defendants case, which could be
detrimental to the preservation of invaluable exculpatory evidence.
Under the Rocco Code, suspects were not afforded this
privilege. Instead, the code left scheduling preliminary hearings to
7William T. Pizzi & Luca Marafioti, The New Italian Code of Criminal Procedure: TheDifficulties of Building an Adversarial Trial System on a Civil Law Foundation, 17 YALEJ.INTL. 1, 3(1992); See generally INTRODUCTION TO ITALIAN LAW(Jeffrey S. Lena & Ugo Mattei eds.,2002); THOMAS GLYN WATKINS,THE ITALIAN LEGAL TRADITION(1997).8Alan Watson, Legal Transplants: An Approach to Comparative Law14 (2003) (Legaltransplants are procedures of law that aremoved from one legal system to another. Inthis instance, I use the term to refer to those legal procedures that Italy adopted fromthe American model into the CPP).9U.S.CONST.amend. VI. (Professor Amar has criticized violations of speedy trial and
argues for violation remedies); See Akhil Reed Amar, Foreword: Sixth Amendment FirstPrinciples, 84GEO.L.J. 641, 674-77 (1996).
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judicial discretion. This practice originated from Italys civil law
tradition that required the judge to compile all relevant information
in a case into a case dossier for judicial review. The judge wouldspend long periods of time compiling the evidence alongside the
prosecutor before reviewing the case at the preliminary hearing.
Consequently, suspects notoriously endured up to a ten-year delay
before they were finally given a preliminary hearing. And despite
attempts to reform this procedure, it is clear that judges still have
considerable discretion under the new CPP. The current code
stipulates that the public prosecutor must finish the preliminaryinvestigation within six months after the initial arrest. The goal of
this reform is to improve the efficiency of the case review process
because the Italians learned that too long of a wait resulted in
unmanageable case backup and the loss of valuable testimony. As
such, the CPP attempts to emulate the American speedy trial
procedure for criminals with this pretrial investigatory time limit.
However, the prosecutor may file for an extension of up to eighteenmonths to two years, particularly in extreme cases.10
While this is a far cry from the decade long delays
defendants endured under the Rocco Code, defendants today still
risk having to wait over a year to be formally charged. Once the
preliminary investigation is closed, a decision must be made about
whether there is enough evidence to proceed to press charges
against the suspect. It is in this stage that the Italian and Americansystems differ greatly in terms of who has the power to proceed
with these charges. While the American prosecutor has discretion
over whether or not to move forward with a case, it is the
supervising judge (gip) who makes this decision under Italian law.
This is a prime example of how much more power judges have in
the Italian system. The prosecution still spearheads the effort to
10See GRANDE, supra note 3, at 233 (All evidence obtained after the preliminaryinvestigation is terminated is excluded from the case and cannot be used in trial).
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collect evidence into a case dossier, but thegipmay intervene11
during the investigation and compel the prosecutor to continue an
investigation even if the prosecutor does not believe there is enoughcredible evidence to support the charges.12Conversely, American
prosecutors have much more flexibility over which cases they will
pursue. The fact that the prosecution has the power to proceed
with or terminate an investigation is characteristic of the party-
driven accusatorial system. As the American prosecution has the
sole burden of proof in criminal cases, they must be absolutely
certain that there is enough evidence to substantiate their claims incourt. If they cannot meet the demands of this burden, they have no
other option but to release the accused and pursue other suspects.
But since it is thegip, not the Italian prosecutor who makes this
decision in the Italian system, the supervising judge assumes
greater power over the decision to continue a case.
The practice of judicial intervention demonstrates the
residual power that the judge still retains from the Italianinquisitorial tradition. Under the old code, the gip(then known as
the instructor judge13) and the prosecutor worked together to
collect evidence against a suspect. The two parties actually had to
collect both incriminating and exculpatory evidence because the
suspect did not enjoy the right to his own defense counsel. Clearly,
Italian judges are having a difficult time completely abandoning
their previous post as fact-finders alongside the prosecution under
the new code. The fact thatgips retain the power to command the
prosecution to continue an investigation or press formal charges
against a suspect shows that although Italian and American
11GRANDE, supra note 3, at 234 (Sometimes the judge may intervene on behalf of the
victim or the victims family to order the prosecutor to continue investigating a suspecteven if the prosecutor does not believe there is enough evidence to substantiate thecharges).12Id.13
GRANDE, supra note 3, at 241 (At the preliminary hearing, the supervisory gipno longerrules on the case. The case is reviewed by the giudice delludienzapreliminare orgup. This
judge actually presides over the preliminary hearing and decides whether or not to sendthe case to trial).
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prosecutors are charged with similar duties, in practice American
prosecutors have more discretion over preliminary investigations
than do Italian prosecutors. Similarly, Italian judges reserve morecontrol over the prosecution than American judges who have no
power to order the prosecution to continue an investigation.
Ic. The Preliminary Hearing
The subsequent stage of criminal justice procedure that the
CPP reformed was the preliminary hearing. The preliminaryhearing was formerly a unilateral procedure under the Rocco Code
wherein only the judge (gup) and the prosecutor were allowed to
present evidence. The current Italian preliminary hearing, however,
takes the form of an adversarial structure. Much like the American
preliminary hearing, the CPP provides the defendant the right to
counsel and grants him the opportunity to counter the
prosecutions arguments and question evidence. The goal of this
reform was to give greater protection to the defendant which
would make him less vulnerable to excessive judicial power.
At face value, the preliminary hearing phase of the criminal
justice system in the US and Italy appears to be similar, however,
the problem is that Italian preliminary hearings are quite different
in practice. Under the U.S. Federal Rules of Criminal Procedure,
defendants have the right to waive the preliminary hearing or to be
heard before a judge14or, in some cases, to be heard before a grand
jury15of sixteen to twenty-three of their peers. This body of jurors
14This process is also known as an arraignment in some jurisdictions.15See Federal Rules Criminal Procedure Rule 6. The Grand Jury, CORNELL UNIVERSITY LAWSCHOOL,www.law.cornell.edu/rules/frcrmp/rule_6 (According to Rule 6 of the Federal
Rules of Criminal Procedure. Twelve jurors must come to an agreement in order for anindictment to be issued. Currently, only about half of the states within the US practicegrand jury indictment hearings while the rest of the states retain provisions but do notregularly employ them. This is because grand juries or are only required for federalcriminal cases pursuant to the Fifth Amendment and they have not been incorporatedinto the Fourteenth Amendment to apply uniformly to all of the states [U.S.CONST.amend. V]. And although the judge instructs the grand jury about the laws at hand, thedecision to issue an indictment is made by the jury alone. This, many believe, gives
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is like a peoples panel which redistributes the traditional power
the judge and the government have back to the community. The
prosecution then presents the evidence and it is up to the judge orgrand jury to decide whether there is enough evidence to proceed
with a trial. In order for the judge or jury to make this decision, the
prosecution must present the evidence collected to give the judge
or grand jury reasonable suspicion that the defendant committed
the crime. At this stage, the prosecutor does not need to prove the
defendants guilt beyond a reasonable doubt as he is charged to do
in an actual trial. He need only convince the judge or grand jurythat there is enough evidence against the accused to prove probable
cause. The accused then has the right to a defense counsel to
respond to the prosecutions evidence. It is important to note,
however, that while the accused enjoys this right to counsel at
hearings before a judge in the US, he does not have a right to
counsel before a grand jury.16This means that in preliminary
hearings the prosecution may present all incriminating evidence toa grand jury without defense counsel present. If after all of the
evidence has been presented the judge or grand jury decides there is
enough evidence to support the prosecutions claims, the suspect
becomes a defendant and is officially charged.17
The Italian preliminary hearing procedure has a similar
adversarial party structure. The prosecution presents all of the
evidence in the form of a case dossier. In turn, the defense is given acopy to review before the hearing. At the actual hearing thegup
reviews the prosecutions evidence and the defense counsels
more power to the average citizen than the judge, resulting in a procedure that isexemplary of the spirit of American individualism and the publics historical distrust ofgovernment control. In Knoxs case, her pretrial hearing was ruled upon by a judge,
Paolo Micheli, instead of a grand jury, which would have been available to her in the US.The absence of a grand jury in her case exemplifies Italys resistance to relinquish thejudges power to the people).16Coleman v. Alabama, 399 U.S. 1 (1970).17Provisions of the Code of Criminal Procedure will be cited in the Article using thestandard Italian reference for the Code which is C.p.p. (an abbreviation for Codice diProcedura Penale) followed by the article number of the Code being discussed. C.P.P.art. 405.
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counter arguments. At this time the defendant may request an
interrogation to challenge each of the prosecutions arguments. If
the case goes to trial, the interrogation at the preliminary hearingcan be submitted as evidence pursuant to Article 514 of the CPP. A
debate thus ensues between the two parties resulting in the gups
ultimate decision to continue or drop the case. This judicial power,
unchecked by a community body like the grand jury in the US,
demonstrates the greater capacities the Italian criminal justice
system allots its judges.
Because of this difference in judicial power, it is clear thatthe Italian and American preliminary proceedings are not truly as
identical as they would appear. For one, the Italian preliminary
hearing is primarily based on documents18rather than the
prosecutions oral testimony. This is a definite nod to the
inquisitorial tradition wherein all information in a case is compiled
into a dossier for final judicial review at trial. This is an important
representation of judicial power as the judges reliance on thiswritten testimony does not provide the parties much room to
expand and interpret the evidence for the court. Oral testimony is
essential to the adversarial system because it allows the parties to
describe their stories in their own words to clarify the meaning of
case evidence. Without importance placed on the spoken word,
witnesses and defendants are somewhat silenced as the judge
reviews written evidence. The case dossier upon which the judgerelies, while factually comprehensive, is arguably only two
dimensional relative to oral testimony which, when encouraged,
can give added dimension to a defendants story. An additional
difference between the two systems is that the Italian courts do not
provide any sort of grand jury hearing at the preliminary stage. The
gupdecides independently whether or not there is enough evidence
to carry a case to trial. This is another similarity to the old
inquisitorial system wherein the judges decisions dictatethe
course of the case rather than a decision by a jury. In this respect,
18See GRANDE,supra note 3, at 242.
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the judges have not transitioned out of the role they held from the
oppressive days of the Rocco Code. It is evident that although the
CPP carves out roles for the opposing parties in a criminal case,their responsibilities are often overshadowed by the dossier and
judge oriented inquisitorial model.
Id. Pretrial Preparation: Plea Bargaining and Fast Track Trials
Another one of the essential features that the Italians did
not fully incorporate from the American system was pleabargaining. Due to the cost and the risks involved, most defendants
in the US accept plea bargains instead of proceeding to a full trial.19
Oftentimes both the defendant and the prosecutor benefit from this
arrangement because the defendants charges are reduced and the
prosecutor is no longer burdened by the task of proving the
defendants guilt beyond a reasonable doubt. In the adversarial
system where the prosecution has the sole responsibility of provingthe defendants guilt, a plea bargain can be an effective means of
saving time and resources. However, plea bargaining is not as
widely accepted in Italy as it is in the US. In Italy, plea bargains
(patteggiamento) are used sparingly and only for lesser crimes. While
American defendants submit plea bargains for the majority of
criminal cases, the Italian system does not encourage their
defendants to do the same. Italians explain their hesitancy to
accept plea bargains in place of searching for the truth because they
believe the system is fundamentally inconsistent with their sacred
civil law tradition. As a result: A system of plea bargaining like
that existing in the Unites States is viewed as fundamentally
inconsistent with the sacrosanct civil law values of uniformity and
truth.20
19Albert W. Aschuler, Plea Bargaining and Its History,79.1 COLUM.L.REV.1-43 (1979)(Plea bargains are an extremely popular option. They are so common that ninetypercent of defendants plead guilty to the charges against them in lieu of going to trial.).20William T. Pizzi and Luca Marafioti, The Difficulties of Building an Adversarial Trial Systemon a Civil Law Foundation, 17 YALEJ.INT'L L.10, (1992) (Discussing the difficulties of
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Because Italians cannot reconcile plea bargains and their civil law
system, plea bargains are rarely granted in Italian criminal courts.
The few crimes that are eligible for plea bargains under the CPP arecrimes warranting no more than five years in prison or those
punishable by fine.21Higher crimes such as murder do not qualify
for plea bargaining because Italians believe it undercuts the search
for truth and execution of justice. This is also because Italian
prosecutors are charged with the duty to prosecute the crimes that
they encounter, especially if they are as severe as the Knox case.
Despite Italys restrictions on plea-bargaining, defendantsstill have other options to reduce their sentences. The option that is
the closest Italian equivalent to the American plea bargain system
is a fast-track trial. The key difference between the two procedures
is that plea bargains in the US are based on reducing the charge
while the fast-track trial only reduces the sentence. According to
the CPP, defendants are allowed to waive their right to a full trial in
exchange for a reduced sentence. The defendant must voluntarilychoose this option so that the court does not violate his right to
representation and due process without his explicit consent. After
the defendant agrees to a fast-track trial, the defense is not allowed
to question witnesses or submit any evidence other than the
preliminary investigation file to the court. In exchange for these
sacrifices, the court grants the defendant a reduction in his
sentence of one third. Still, the defendant may appeal his sentenceto a higher court to further reduce his sentence. For example, Rudy
Hermann Guede, a key suspect in the murder of Meredith Kercher,
opted for the fast track trial. While a murder conviction in Italy
typically renders a verdict of life imprisonment, Guede received a
implementing adversarial trial systems in Italy. Italy and many other Europeancountries have a doctrine of mandatory prosecution whereby the prosecuting authoritymust bring a criminal complaint against someone if they have reason to believe thatperson has committed a crime. This, of course, does not mean that the case mustproceed to the filing of formal charges and then to trial, but rather that a file has to beopened up and the matter investigated if a police officer or a member of the public givesevidence of a crime to the public prosecutor.).21
C.P.P. art. 444-448.
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sentence of only thirty years imprisonment after he accepted a fast-
track trial. This sentence was subsequently reduced by nearly half
on appeal.Although these systems share some of the same
characteristics, they are hardly alike in practice. Fast track trials
and plea-bargains differ greatly in respect to who has the
bargaining power in these negotiations. Within the American plea
bargain system, defendants have control over declaring their own
guilt (instead of the judge or jury) in exchange for lesser charges
and jail time. This process is clearly linked to the adversarial systembecause it mandates that the prosecution, the defense and the
defendant work to create the most favorable outcome for their
respective sides. Conversely, fast-track trials are reminiscent of the
civil law tradition because the judge still determines the
defendants guilt without negotiating with the opposing parties.22
This, an American judge could not do without cooperation from the
parties involved. Therefore, Italys tendency towards fast-track trialinstead of plea bargains reveals that although Italy has adopted
many adversarial procedures, it is more of a hybrid system23
because it is still faithful to judicial discretion when bargaining
with defendants. Because the judge has the power to assign guilt
with plea bargains and fast track trials in Italy, the defendant
remains under the judges control as opposed to a defendant in the
American system who has the power to admit his own guilt andnegotiate his charges and prison sentence.
22PIZZI, supranote 20, at 9 (In Italy, so important is the heritage of mandatory
prosecution that there is a provision in the Italian Constitution that enshrines theprinciple of mandatory prosecution; The public prosecutor is required to file a criminalcomplaint if he or she has reason to believe that a crime has been committed. This mandatory
prosecution is considered a protective measure for citizens, as it requires prosecutors totreat all offenders equally. Italian lawmakers fear that without mandatory prosecution,prosecutors might be corrupted by political pressure to prosecute some offenders butnot those who are protected by their political connections.).23Studio Legale Canestrini, The Italian Criminal Trial, STUDIO LEGALE CANESTRINI LAWFIRM (May 20, 2012), http://www.hg.org/article.asp?id=26794 (The Italian criminalsystem is very much a hybrid system today. In 1988, a new code was enactedTheresulting system could be considered to be somewhere in between the two.).
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Ie. The Trial Phase: Jury Selection
This selective implementation of adversarial procedure isfurther apparent through the different methods of jury selection
that each country uses. In the American adversarial system, jury
selection is crucial to establishing a bifurcated trial wherein the
jury decides on issues of fact and the judge presides over issues of
law. In this selection process, also calledvoir dire,24the prosecuting
attorney and the defense counsel handpick the jury that will hear
the defendants case instead of presenting their arguments to apanel of professional judges. Since each party has the ability to
select their jurors, the prosecution and the defense have the
opportunity to select the most receptive jury possible for the
arguments they plan to use in trial.25And each side has a set
number of peremptory and cause challenges26to use to excuse
clearly biased jurors from serving in the trial. Since the jury is only
supposed to decide on issues of fact, the goal behind thevoir direprocess is to reduce the number of biased jurors from deciding the
case based on reasons unrelated to the facts provided in the trial.
Voir direis therefore used to further the goals of the adversarial
structure granting more power to the parties in an effort to leave
less room for judicial discretion.
24This French term, meaning to see and to speak, originates from the Latin expression,to tell the truth.25
LEE EPSTEIN &THOMAS G.WALKER,CONSTITUTIONAL LAW FOR A CHANGINGAMERICA:RIGHTS,LIBERTIES,ANDJUSTICE(7th ed. 2010) (There are, however, certainrestrictions tovoir dire. If one party believes that the other struck a juror from serving inthe trial for an unprotected, discriminatory reason [e.g. race or in some cases gender],that party might issue a Batson challenge to restore the juror to the jury. The judge uses
the strict scrutiny rule when deciding if a juror was struck for racial reasons andintermediate scrutiny for gender discrimination.).26
EPSTEIN &WALKER, supra note 25 (A peremptory challenge refers to the act ofstriking jurors from serving in a trial for almost any reason whatsoever. Although thereare not unlimited peremptory challenges, each side retains the right to strike a certainnumber of jurors using this challenge depending on jurisdiction. Cause challenges areslightly different. Parties use this challenge to strike persons that they believe cannotbe fair or impartial. Peremptory challenges need not be used in these cases.).
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Interestingly, the Italian courts are not comfortable with
this process and do not employ it. Contrary to the bifurcated
American adversarial structure, Italian judges decide on both issuesof fact and law. This is one of the strongest examples of how much
more power Italian judges have over criminal cases than American
judges who cannot decide on the facts of a case. In extreme cases
such as murder trials, however, the Italian judges are assisted by a
panel of layperson judges who also decide on the facts and are
advised by the two professional judges on the laws related to the
case. This team of six laypersons constitutes the loose equivalent ofan American jury. These laypersons are not selected throughvoir
direbut instead at random. This means that any juror between the
ages of thirty-five and sixty-four within the jurisdiction of the
Italian court may be called to judge a trial.27The goal of this random
selection process is to prevent the opposing parties from selecting
jurors who could potentially be biased in their favor when
weighing the facts of the case. But the reality of the randomlyselected structure of this judging panel can actually result in just as
much bias by the professional judges on the panel who have the
ability to guide and persuade the layperson judges who are often
trusting of judicial authority and less knowledgeable about the law.
The absence of a party leadvoir direselection process under
the CPP is proof that Italian courts are still hesitant to grant
adversarial parties too much freedom in criminal cases. The random
selection of laypersons prevents the parties from engaging in the
adversarial designed process of jury selection. Therefore, the
implementation of random jury selection is a clear rejection of the
American adversarial tradition. The Italians are wary of embracing
thevoir direprocess because they still believe in granting more
power to impartial bodies such as the judge and a randomlyselected layperson jury. This desire is apparent in the CPP reforms,
which seek to establish the fairest, most impartial criminal justice
27The only other discriminating factor when selecting these laypersons is that eachjuror must have at least completed a junior high school education.
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system possible. Although many criticized the old Rocco code for
its abuses of judicial power, the drafters of the CPP still had great
confidence in the judges ability to review a case impartially, surelya persisting belief from Italys inquisitorial legal tradition.As such,
the Italian parliament excludedvoir direproceedings when
transplanting American adversarial measures into their judicial
system in order to avoid jurors from being selected by biased
parties. The fact that the CPP opts instead for randomly selected
layperson juries demonstrates that Italians believe that the parties
could abuse their privileges when selecting jurors. Throughv