Global Prison Studies

Prisons are not typically known for cutting-edge media technologies. Yet from photography in the nineteenth century to AI-enhanced tracking cameras today, there is a long history of prisons being used as a testing ground for technologies that are later adopted by the general public. If we recognize the prison as a central site for the development of media technologies, how might that change our understanding of both media systems and carceral systems? Prison Media foregrounds the ways in which the prison is a model space for the control and transmission of information, a place where media is produced, and a medium in its own right.
Examining the relationship between media and prison architecture, as surveillance and communication technologies are literally built into the facilities, this study also considers the ways in which prisoners themselves often do hard labor as media workers—labor that contributes in direct and indirect ways to the latest technologies developed and sold by multinational corporations like Amazon. There is a fine line between ankle monitors and Fitbits, and Prison Media helps us make sense of today's carceral society.

Focusing on discourse generated between 1969 and 2006 in the legal arena and in the print news media, the author takes an historical-interpretive approach to illuminate the role of cultural forces and attendant ideologies in shaping the contours of the phenomenon commonly known as OC prison rape.OCO Locating this work within the sociology of punishment, the author employs frame analysis and draws on two previously unrelated literatures OCo GarlandOCOs cultural analytic model and constitutive legal scholarship OCo to produce a genealogy of discourse about sexual assault in carceral settings as manifest in two important arenas of meaning making. In addition to providing a detailed analysis of the often counterintuitive relationship between these discourses over time, the book considers the recent unanimous passage of the Prison Rape Elimination Act (2003) at a highly punitive historical moment in a nation that has traditionally preferred to litigate rather than legislate questions around the treatment of those it incarcerates."

This book is concerned with the media's role in everyday life, power relations and the construction of masculine identities in the context of prisons. It is based upon unique research into the nature, impact and consequences of a situation where most prisoners in English prisons have access to some media resource, whether radio or television, or with communal or individual access to it. Captive Audience charts for the first time the way in which prisons use media in coping - or failing to cope - with the pressures of prison life, exploring the impact of the media in terms of prisoner identities, shaping power relations between prisoners and other prisoners, and in helping prisoners 'get through' a prison sentence. At the same time this book raises a range of broader issues of theory and practice on the nature of the relationship between prisons, criminal justice systems and society more generally, and on the ways in which the media are conceived in everyday life. It will be of interest to all those concerned with prisons, criminology and the criminal justice system, the social role of the media, and the construction of identity.

This book turns on the television, opens the newspaper, goes to the cinema and assesses how punishment is performed in media culture, investigating the regimes of penal representation and how they may contribute to a populist and punitive criminological imagination. It places media discourse in prisons firmly within the arena of penal policy and public opinion, suggesting that while Bad Girls, The Shawshank Redemption, internet jail cams, advertising and debates about televising executions continue to ebb and flow in contemporary culture, the persistence of this spectacle of punishment - its contested meaning and its politics of representation - demands investigation. Alongside chapters addressing the construction of popular images of prison and the death penalty in television and film, Captured by the Media also has contributions from prison reform groups and prison practitioners which discuss forms of media intervention in penal debate. This book provides a highly readable exploration of media discourse on prisons and punishment, and its relationship to public attitudes and government penal policy. At the same time it engages with the 'cultural turn' within criminology and offers an original contribution to discussion of the relationship between prison, public and the state. It will be essential reading for students in both media studies and criminology as well as practitioners and commentators in these fields.

This book provides a socio-legal examination of the media's influence on the development and implementation of criminal justice policy. This impact is often assumed. And, especially in the wake of high-profile crimes, the press is routinely observed calling for sentences to be harsher, and for governments to be tougher on crime. But how do we know that there is a connection? To answer this question, the book draws on a case study of the media reporting of the rape and murder of Jill Meagher in Melbourne, Australia; as well as other well-known cases, including those of James Bulger, Sarah Payne, Stephen Lawrence and Michael Brown, among others. Deploying a socio-legal framework to examine how the media's often powerful and emotive narratives play a crucial role in the development and implementation of law, the book provides a deep and critical reflection on its influence. The book concludes with a number of suggestions for media reform: both to moderate the media's influence, and to incorporate a broader range of viewpoints. This multi-disciplinary book will appeal to scholars and students in sociolegal studies, criminology and criminal law as well as those working in relevant areas in sociology and media studies.

Prison Movies: Cinema Behind Bars traces the public fascination with incarceration from the silent era to the present. Often considered an offshoot of the gangster film, the prison film precedes the gangster film and is in many ways its opposite. Rather than focusing on tragic figures heading for a fall, the prison film focuses on fallen characters seeking redemption. The gangster's perverse pursuit of the American dream is irrelevant to the prisoner for whom that dream has already failed. At their core, prison films are about self-preservation at the hands of oppressive authority. Like history itself, prison films display long stretches of idleness punctuated by eruptions of violence, dangerous moments that signify liberation and the potential for change. The enclosed world of the prison is a highly effective microcosm, one that forces characters and audiences alike to confront vexing issues of race, class, gender, and sexuality. These portrayals of men and women behind bars have thrived because they deal with such fundamental human themes as freedom, individuality, power, justice, and mercy. Films examined include The Big House (1930), I Want to Live! (1958), The Defiant Ones (1958), Cool Hand Luke (1967), Midnight Express (1978), Escape from Alcatraz (1979), The Shawshank Redemption (1994), and Starred Up (2013).

This book explores how an audience of men serving sentences in an English prison responded to viewing five contemporary British prison films. It examines how media representations of prison vary in style and content, how film can influence public attitudes, and how this affects people in prison. The book explains the ways in which film acts as a power resource, presenting an ideological vision of criminal justice. The audience used these films to map the social terrain of prison, including issues of power and resistance; race and racism; corruption and the illicit economy; and staff-prisoner relationships, themes which are explored in the films screened. The authors argue that media consumption is one of the ways in which people in prison construct and maintain an ideal of the prisoner culture and what it is to be a 'prisoner'. The book also reveals the ways in which audience members' media choices and readings are part of the ongoing process of constructing their self-identity. This book illuminates the complex ways in which media consumption is an integral part of social power, cultural formation and identity construction. Recognising and engaging with audiencehood offers one potential route for supporting more progressive penal practice. This book speaks to those interested in prisons, crime, media and culture, and film studies.

Far more than a building of brick and mortar, the prison relies upon gruesome stories circulated as commercial media to legitimize its institutional reproduction. Perhaps no medium has done more in recent years to both produce and intervene in such stories than television. This unapologetically interdisciplinary work presents a series of investigations into some of the most influential and innovative treatments of American mass incarceration to hit our screens in recent decades. Looking beyond celebratory accolades, Lee A. Flamand argues that we cannot understand the eagerness of influential programs such as OZ, The Wire, Orange Is the New Black, 13th, and Queen Sugar to integrate the sensibilities of prison ethnography, urban sociology, identity politics activism, and even Black feminist theory into their narrative structures without understanding how such critical postures relate to the cultural aspirations and commercial goals of a quickly evolving TV industry and the most deeply ingrained continuities of American storytelling practices.

Si pour bien des intellectuels le monde contemporain va trop vite – la vitesse hystérique de ce dernier n'ayant de cesse de leur couper la parole – Catherine Mavrikakis, elle, choisit de se laisser porter par cette vitesse et d'habiter le temps mondialisé, quand bien même il menacerait le rayonnement de l'écrit. Son essai, Condamner à mort, s'applique à penser, à partir de ces vitrines du vivre-ensemble que sont Internet et la télévision, les solutions qu'offre la loi pour gérer l'assassin : suppression des personnes, camisole chimique, enfermement. Car dans ces solutions et dans leurs réceptions diverses à l'écran, se donnent à lire les implicites à partir desquels le social est tissé. De Timothy McVeigh, le terroriste américain qui a fait exploser un édifice fédéral, à Aileen Wuornos, la prostituée meurtrière de l'Interstate 75 qui, comme lui, a succombé à la peine capitale, en passant par Andrea Yates, cette mère cinq fois infanticide, aujourd'hui emprisonnée et contrôlée médicalement, et Armin Meiwes, désormais sous les verroux, qui a mangé un homme rencontré par le biais d'Internet, Catherine Mavrikakis analyse des cas spectaculaires et dramatiques qui ont nourri la chronique durant les dernières années. Elle s'attache à fourbir des armes contre la peine de mort et plonge ici « dans ce temps de la simultanéité où, comme toute bonne nageuse synchronisée, elle s'efforce de garder le sourire et surtout de ne pas respirer »

Radio produced and broadcast behind prison walls is redefining traditional meanings of 'public service broadcasting' and disrupting traditional power structures within the prison system. Focusing on one of the most interesting developments in UK prisons over the past 10 years, this book examines the early history of the Prison Radio Association and the formation of the first national radio station for prisoners. Highlighting the enduring importance of social values in broadcasting this book shows how radio can be used as a powerful force for social change. It will be of interest to those involved in media, criminal justice and social activism.