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.

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.