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Damned if you do, damned if you don’t: it’s a funny old world.

sweat shop

“Did you just look at me?” says Queen Anne to the footman and, as he shakes his head staring into oblivion clearly hoping this was not happening, she shouts “Look at me”. He reluctantly turns his head, looking at her in obvious discomfort when she screams “how dare you; close your eyes?”  A short vignette from the television commercial advertising the award-winning film ‘The Favourite’ and very much a case of damned if you do and damned if you don’t for the poor hapless footman.

A few weeks ago, I accompanied my wife to a bear fair in London; she makes vintage bears as a hobby and occasionally takes to setting up a stall at some fair to sell them.  As I sat behind the stall navel gazing and wandering what the football scores were, when I was going to get something to eat and when would be an appropriate time to go for a wander without giving off the vibe that enthusiasm was now waning, my wife said, ‘did you see that’?  ‘What’ I asked peering over a number of furry Ursidae heads (I’m told they don’t bite)? ‘That woman in the orange top’ exclaimed my wife. Scouring the room for a woman that had been Tango’d, I listened to her explaining that a 30ish year old woman had just come out of the toilets wearing a bright orange top and emblazoned across her generous chest were the words ‘eye contact’.  ‘I suppose it’s a good message’ said my wife as I settled back down to my navel gazing.

I thought about the incident, if you can call it that, on the way home and that was when the film trailer came to mind as a rather good analogy.  I get the message, but it seems a rather odd way to go about conveying it.  From a distance we are drawn to looking but then castigated for doing so.  A case of look at me, why are you looking at me?  And so, it seems to me that the idea behind the message is somehow diluted and even trivialised.  The top is no more than a fashion item in the sense of it being a top but also in a sense of the message.  The message is commercialised; I wonder whether the top was purchased because of the seriousness of the message it conveyed or because it would look good and attract attention?

I discussed this with a colleague and she brought another dimension to the discussion.  Simply this, where was the top made?  Quite possibly, even likely, in a sweat shop in Asia by impoverished female workers.  And so, a seemingly innocent garment symbolises all the wrong things; entrapment, commercialism and inequality.  I can’t help thinking on this International Women’s Day that it’s a funny old world that we live in.

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Halloween Prison Tourism

Haley 2

 

Haley Read is an Associate Lecturer teaching modules in the first and third years.

Yes, that spooky time of the year is upon us! Excited at the prospect of being free to do something at Halloween but deterred by the considerable amount of effort required to create an average-looking carved pumpkin face, I Google, ‘Things to do for Halloween in the Midlands’.

I find that ‘prison (and cell) ghost tours’ are being advertised for tourists who can spend the night where (in)famous offenders once resided and the ‘condemned souls’ of unusual and dangerous inmates still ‘haunt’ the prison walls today. I do a bit more searching and find that more reputable prison museums are also advertising similar events, which promise a ‘fun’ and ‘action packed’ family days out where gift shops and restaurants are available for all to enjoy.

Of course, the lives of inmates who suffered from harsh and brutal prison regimes are commodified in all prison museums, and not just at Halloween related events. What appears concerning is that these commercial and profit-based events seem to attract visitors through promotional techniques which promise to entertain, reinforce common sensical, and at times fabricated (see Barton and Brown, 2015 for examples) understandings of history, crime and punishment. These also present sensationalistic a-political accounts of the past in order to appeal to popular  fascinations with prison-related gore and horror; all of which aim to attract customers.

The fascination with attending places of punishment is nothing new. Barton and Brown (2015) illustrates this with historical accounts of visitors engaging in the theatrics of public executions and of others who would visit punishment-based institutions out of curiosity or to amuse themselves. And I suppose modern commercial prison tourism could be viewed as an updated way to satisfy morbid curiosities surrounding punishment and the prison.

The reason that this concerns me is that despite having the potential to educate others and challenge prison stereotypes that are reinforced through the media and True Crime books, commercialised prison events aim to entertain as well as inform. This then has the danger of cementing popular and at times fictional views on the prison that could be seen as being historically inaccurate. Barton and Brown (2015) exemplify this idea by noting that prison museums present inmates as being unusual, harsh historical punishments as being necessary and the contemporary prison system as being progressive and less punitive. However, opposing views suggest that offenders are more ordinary than unusual, that historical punishments are brutal rather than necessary and that many contemporary prisons are viewed as being newer versions of punitive discipline rather than progressive.

Perhaps it could be that presenting a simplified, uncritical and stereotyped version of the past as entertainment prevents prison tourists from understanding the true pains experienced by those who have been incarcerated within the prison (see Barton and Brown, 2015, Sim, 2009). Truer prison museum promotions could inform visitors of staff corruption, the detrimental social and psychological effects of the prison, and that inmates (throughout history) are more likely to be those who are poor, disempowered, previously victimised and at risk of violence and self-harm upon entering prison. But perhaps this would attract less visitors/profit…And so for another year I will stick to carving pumpkins.

 

Photo by Markus Spiske temporausch.com on Pexels.com

Barton, A and Brown, A. (2015) Show me the Prison! The Development of Prison Tourism in the UK. Crime Media and Culture. 11(3), pp.237-258. Doi: 10.1177/1741659015592455.

Sim, J. (2009) Punishment and Prisons: Power and the Carceral State. London: Sage.

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