Projecting the prison: the depiction of the uncanny in The Shawshank Redemption

The space of the prison is no longer on the margins in relation to societal `centres', but instead acts as an adjunct to the urban environment. With the disappearance of the Gothic prison from the archi-texture of contemporary cities, the meaning conveyed by its façade has lost much of its potency. It is now contemporary prison drama, as opposed to the physical façade, that represents the interface between the public and the prison. This article explores a dramatic representation of the prison (The Shawshank Redemption) through the lens of Freud's (1919/1955) notion of the uncanny and Bachelard's (1958/1994) poetics of domestic space. Incarceration, as depicted in film and television, reinforces the `place myths' of the prison (Shields, 1991). Contemporary prison drama portrays the prison as a marginal space in much the way that the Gothic façades of the 19th-century prison projected a particular message. The prison, as depicted on screen, is a simulacrum. It is a facsimile of an architectural idea that only ever existed as a façade - a façade that occluded as much as it projected.

Spaces of observation and obscurity: cinematic prisons of light and dark

In The Eye of Power, Foucault delineated the key concerns surrounding hospital architecture in the latter half of the eighteenth century as being the ‘visibility of bodies, individuals and things'. As such, the ‘new form of hospital' that came to be developed ‘was at once the effect and support of a new type of gaze'. This was a gaze that was not simply concerned with ways of minimising overcrowding or cross-contamination. Rather, this was a surveillance intended to produce knowledge about the pathological bodies contained within the hospital walls. This would then allow for their appropriate classification. Foucault went on to describe how these principles came to be applied to the architecture of prisons. This was exemplified for him in the distinct shape of Bentham's panopticon. This circular design, which has subsequently become an often misused synonym for a contemporary culture of surveillance, was premised on a binary of the seen and the not-seen. An individual observer could stand at the central point of the circle and observe the cells (and their occupants) on the perimeter whilst themselves remaining unseen. The panopticon in its purest form was never constructed, yet it conveys the significance of the production of knowledge through observation that became central to institutional design at this time and modern thought more broadly. What is curious though is that whilst the aim of those late eighteenth century buildings was to produce wellventilated spaces suffused with light, this provoked an interest in its opposite. The gothic movement in literature that was developing in parallel conversely took a ‘fantasy world of stone walls, darkness, hideouts and dungeons…' as its landscape (Vidler, 1992: 162). Curiously, despite these modern developments in prison design, the façade took on these characteristics. The gothic imagination came to describe that unseen world that lay behind the outer wall. This is what Evans refers to as an architectural ‘hoax'. The façade was taken to represent the world within the prison walls and it was the façade that came to inform the popular imagination about what occurred behind it. The rational, modern principles ordering the prison became conflated with the meanings projected by and onto the façade. This confusion of meanings have then been repeated and reenforced in the subsequent representations of the prison. This is of paramount importance since it is the cinematic and televisual representation of the prison, as I argue here and elsewhere, that maintain this erroneous set of meanings, this ‘hoax'.

Modernity, the new republic and Sing Sing: The creation of a disciplined workforce and citizenry

[Author's description] Bringing together new research on punishment and control in the 19th and 20th centuries, this collection begins by examining the development of the modern prison, gender, social control and punishment, and psychiatry and the criminal justice system. Further, it explores penal olicy, prison practice, and discourses on offenders, providing case studies of: the 'respectable' criminal, the female inebriate and the juvenile offender. The final part examines the experiences of confinement, discipline and resistance, through prisoner memoirs, prison riots and resistance and identity in residential institutions.

Panopticon

Contemporary prison practice faces many challenges, is developing rapidly and is become increasingly professionalized, influenced by the new National Offender Management Service. As well as bringing an increased emphasis on skills and qualifications it has also introduced a new set of ideas and concepts into the established prisons and penal lexicon.At the same time courses on prisons and penology remain important components of criminology and criminal justice degree courses. This will be the essential source of reference for the increasing number of people studying in, working in prisons and working with prisoners.This Dictionary is part a new series of Dictionaries covering key aspects of criminal justice and the criminal justice system and designed to meet the needs of both students and practitioners.This title includes key features such as: approximately 300 entries (of between 500 and 1500 words) on key terms and concepts arranged alphabetically; designed to meet the needs of both students and practitioners; and, entries which include summary definition, main text and key texts and sources. It takes full account of emerging occupational and Skills for Justice criteria. It is edited by a leading academic and practitioner in the prisons and penology field. It includes entries contributed by leading academic and practitioners in prisons and penology.

For the record

Discusses her film, For the Record, the making of which was funded by the Arts and Humanities Research Council. The research material used in the making of FOR THE RECORD consists of official records, private diaries, personal testimony, historical expert interviews and archive footage - all related to the Internment period 1956-1960 in Northern Ireland. Through the use of clips from the film and footage that did not make it into the final cut, this talk examines how selected material is used and to what purpose. FOR THE RECORD is a film about a daughter documenting a period in her father's life and centres on PJ McClean's prison diary, secretly written on the inside of envelopes during the first 30 days in his cell. This brings the viewer into the intimate space of personal testimony. This intimacy is also reflected in the interviews between father and daughter. Throughout the film the diaries are illustrated by experimental Super8 and 16mm footage shot by the filmmaker, over a period of 10 years, of home life. The film unravels the complex story of internment; the why, the how and the ‘for what’? Official records obtained from the Public Records Office Northern Ireland (which have been closed to the public for the past fifty years) combine with archive footage of the then Northern Irish Prime Minister, Basil Brookeborough, to give a wider political perspective to this personal testament. FOR THE RECORD deals with memory, memorabilia and the question of testimony in a complex political landscape. [From the Author]