Television And Prison In The Age Of Mass Incarceration

Television shows that we might call ‘prestige television’ represent prison in ways that are sometimes reductive, sometimes powerful, and sometimes exceedingly complex. This book examines various programmes across the genres of drama, comedy and horror that utilize prison or places of incarceration as a central theme or setting to show how they conform to or challenge the standard conversation about the prison industrial complex and the common understanding of prisons as violent spaces where we house the worst among us. Drawing on the work of Angela Davis, Doran Larson, Dylan Rodriguez, Michelle Alexander, and Lisa Guenther, the author presents focused studies of Orange Is the New Black, Rectify, American Horror Story and The Walking Dead (along with briefer discussions of The 100, police procedurals, and popular sitcoms) to explore the responsibility of television to represent prison in as authentic a fashion as possible, the exploitation of the incarcerated in reductive representations of prison, and the shifting nature of the national conversation about prison as it is depicted on screen. As such, the book will appeal to scholars of cultural and media studies, criminology and sociology with interests in incarceration and representations of prison in popular culture.

Television shows that we might call 'prestige television' represent prison in ways that are sometimes reductive, sometimes powerful, and sometimes exceedingly complex. This book examines various programmes across the genres of drama, comedy and horror that utilize prison or places of incarceration as a central theme or setting to show how they conform to or challenge the standard conversation about the prison industrial complex and the common understanding of prisons as violent spaces where we house the worst among us. Drawing on the work of Angela Davis, Doran Larson, Dylan Rodriguez, Michelle Alexander, and Lisa Guenther, the author presents focused studies of Orange Is the New Black, Rectify, American Horror Storyand The Walking Dead(along with briefer discussions of The 100, police procedurals, and popular sitcoms) to explore the responsibility of television to represent prison in as authentic a fashion as possible, the exploitation of the incarcerated in reductive representations of prison, and the shifting nature of the national conversation about prison as it is depicted on screen. As such, the book will appeal to scholars of cultural and media studies, criminology and sociology with interests in incarceration and representations of prison in popular culture. rison in as authentic a fashion as possible, the exploitation of the incarcerated in reductive representations of prison, and the shifting nature of the national conversation about prison as it is depicted on screen. As such, the book will appeal to scholars of cultural and media studies, criminology and sociology with interests in incarceration and representations of prison in popular culture.

"A powerful document of the inner lives and creative visions of men and women rendered invisible by America’s prison system. More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America’s prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them. Based on interviews with currently and formerly incarcerated artists, prison visits, and the author’s own family experiences with the penal system, Marking Time shows how the imprisoned turn ordinary objects into elaborate works of art. Working with meager supplies and in the harshest conditions—including solitary confinement—these artists find ways to resist the brutality and depravity that prisons engender. The impact of their art, Fleetwood observes, can be felt far beyond prison walls. Their bold works, many of which are being published for the first time in this volume, have opened new possibilities in American art. As the movement to transform the country’s criminal justice system grows, art provides the imprisoned with a political voice. Their works testify to the economic and racial injustices that underpin American punishment and offer a new vision of freedom for the twenty-first century."

When the tough-on-crime politics of the 1980s overcrowded state prisons, private companies saw potential profit in building and operating correctional facilities. Today more than a hundred thousand of the 1.5 million incarcerated Americans are held in private prisons in twenty-nine states and federal corrections. Private prisons are criticized for making money off mass incarceration—to the tune of $5 billion in annual revenue. Based on Lauren-Brooke Eisen’s work as a prosecutor, journalist, and attorney at policy think tanks, Inside Private Prisons blends investigative reportage and quantitative and historical research to analyze privatized corrections in America. From divestment campaigns to boardrooms to private immigration-detention centers across the Southwest, Eisen examines private prisons through the eyes of inmates, their families, correctional staff, policymakers, activists, Immigration and Customs Enforcement employees, undocumented immigrants, and the executives of America’s largest private prison corporations. Private prisons have become ground zero in the anti-mass-incarceration movement. Universities have divested from these companies, political candidates hesitate to accept their campaign donations, and the Department of Justice tried to phase out its contracts with them. On the other side, impoverished rural towns often try to lure the for-profit prison industry to build facilities and create new jobs. Neither an endorsement or a demonization, Inside Private Prisons details the complicated and perverse incentives rooted in the industry, from mandatory bed occupancy to vested interests in mass incarceration. If private prisons are here to stay, how can we fix them? This book is a blueprint for policymakers to reform practices and for concerned citizens to understand our changing carceral landscape.

Named one of the most important nonfiction books of the 21st century by Entertainment Weekly‚ Slate‚ Chronicle of Higher Education‚ Literary Hub, Book Riot‚ and Zora A tenth-anniversary edition of the iconic bestseller—"one of the most influential books of the past 20 years," according to the Chronicle of Higher Education—with a new preface by the author "It is in no small part thanks to Alexander's account that civil rights organizations such as Black Lives Matter have focused so much of their energy on the criminal justice system." —Adam Shatz, London Review of Books Seldom does a book have the impact of Michelle Alexander's The New Jim Crow. Since it was first published in 2010, it has been cited in judicial decisions and has been adopted in campus-wide and community-wide reads; it helped inspire the creation of the Marshall Project and the new $100 million Art for Justice Fund; it has been the winner of numerous prizes, including the prestigious NAACP Image Award; and it has spent nearly 250 weeks on the New York Times bestseller list. Most important of all, it has spawned a whole generation of criminal justice reform activists and organizations motivated by Michelle Alexander's unforgettable argument that "we have not ended racial caste in America; we have merely redesigned it." As the Birmingham News proclaimed, it is "undoubtedly the most important book published in this century about the U.S." Now, ten years after it was first published, The New Press is proud to issue a tenth-anniversary edition with a new preface by Michelle Alexander that discusses the impact the book has had and the state of the criminal justice reform movement today.

Over the years, American colleges and universities have made various efforts to provide prisoners with access to education. However, few of these outreach programs presume that incarcerated men and women can rise to the challenge of a truly rigorous college curriculum. The Bard Prison Initiative is different. College in Prison chronicles how, since 2001, Bard College has provided hundreds of incarcerated men and women across the country access to a high-quality liberal arts education. Earning degrees in subjects ranging from Mandarin to advanced mathematics, graduates have, upon release, gone on to rewarding careers and elite graduate and professional programs. Yet this is more than just a story of exceptional individuals triumphing against the odds. It is a study in how the liberal arts can alter the landscape of some of our most important public institutions giving people from all walks of life a chance to enrich their minds and expand their opportunities. Drawing on fifteen years of experience as a director of and teacher within the Bard Prison Initiative, Daniel Karpowitz tells the story of BPI’s development from a small pilot project to a nationwide network. At the same time, he recounts dramatic scenes from in and around college-in-prison classrooms pinpointing the contested meanings that emerge in moments of highly-charged reading, writing, and public speaking. Through examining the transformative encounter between two characteristically American institutions—the undergraduate college and the modern penitentiary—College in Prison makes a powerful case for why liberal arts education is still vital to the future of democracy in the United States.

Baz Dreisinger travels behind bars in nine countries to rethink the state of justice in a global context Beginning in Africa and ending in Europe, Incarceration Nations is a first-person odyssey through the prison systems of the world. Professor, journalist, and founder of the Prison-to-College-Pipeline, Dreisinger looks into the human stories of incarcerated men and women and those who imprison them, creating a jarring, poignant view of a world to which most are denied access, and a rethinking of one of America’s most far-reaching global exports: the modern prison complex. From serving as a restorative justice facilitator in a notorious South African prison and working with genocide survivors in Rwanda, to launching a creative writing class in an overcrowded Ugandan prison and coordinating a drama workshop for women prisoners in Thailand, Dreisinger examines the world behind bars with equal parts empathy and intellect. She journeys to Jamaica to visit a prison music program, to Singapore to learn about approaches to prisoner reentry, to Australia to grapple with the bottom line of private prisons, to a federal supermax in Brazil to confront the horrors of solitary confinement, and finally to the so-called model prisons of Norway. Incarceration Nations concludes with climactic lessons about the past, present, and future of justice.

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.

An eye-opening account of how and why evangelical Christian ministries are flourishing in prisons across the United States It is by now well known that the United States’ incarceration rate is the highest in the world. What is not broadly understood is how cash-strapped and overcrowded state and federal prisons are increasingly relying on religious organizations to provide educational and mental health services and to help maintain order. And these religious organizations are overwhelmingly run by nondenominational Protestant Christians who see prisoners as captive audiences. Some twenty thousand of these Evangelical Christian volunteers now run educational programs in over three hundred US prisons, jails, and detention centers. Prison seminary programs are flourishing in states as diverse as Texas and Tennessee, California and Illinois, and almost half of the federal prisons operate or are developing faith-based residential programs. Tanya Erzen gained inside access to many of these programs, spending time with prisoners, wardens, and members of faith-based ministries in six states, at both male and female penitentiaries, to better understand both the nature of these ministries and their effects. What she discovered raises questions about how these ministries and the people who live in prison grapple with the meaning of punishment and redemption, as well as what legal and ethical issues emerge when conservative Christians are the main and sometimes only outside forces in a prison system that no longer offers even the pretense of rehabilitation. Yet Erzen also shows how prison ministries make undeniably positive impacts on the lives of many prisoners: men and women who have no hope of ever leaving prison can achieve personal growth, a sense of community, and a degree of liberation within the confines of their cells. With both empathy and a critical eye, God in Captivity grapples with the questions of how faith-based programs serve the punitive regime of the prison, becoming a method of control behind bars even as prisoners use them as a lifeline for self-transformation and dignity.

America’s criminal justice system reflects irrational fears stoked by politicians seeking to win election. Pointing to specific policies that are morally problematic and have failed to end the cycle of recidivism, Rachel Barkow argues that reform guided by evidence, not politics and emotions, will reduce crime and reverse mass incarceration.