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We Don't Need More Prisons, Bigger Prisons, Better Prisons. We Need Better Justice.”

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We Don't Need More Prisons, Bigger Prisons, Better Prisons. We Need Better Justice.” AKADEMIN FÖR UTBILDNING OCH EKONOMI Avdelningen för humaniora ”We don’t need more prisons, bigger prisons, better prisons. We need better justice.” En kritisk diskursanalys av serierna Oz och Orange Is The New Black. Natasa Cigarcic 2021 Examensarbete, Grundnivå (kandidatexamen), 15 hp Medie- och kommunikationsvetenskap Kommunikationsprogrammet: Inriktning professionellt skrivande Medie- och kommunikationsvetenskap C (61-90) 30hp Handledare: Anna Edin Examinator: Anna Edin Abstract The purpose of this essay is to find out how inmates are portrayed in fictional prisonsettings. Through critical discours analysis and through the approach of identification, construction and intersectionality, the aim is to find out how the image of criminals is being created and mediated through television. The entertainment industry plays a big part in how we construe and view reality and what things we percieve to be self-evident. The content and information that reaches us through television plays a part in how we mold our social viewpoints and attitudes – even if that content is purely fictional. Through the analysis that is presented in this essay and with the help of articles and litterature in the matter, my conclusion is that the content being portrayed is an exaggerated image of what prisonlife looks like and that the image of inmates that is being construed only serves the purpose of building a larger gap between criminals and society. Keywords: critical discourse analysis, construction, criminality, prison facilities, intersectionality. Sammanfattning Den här studien ämnar ta reda på hur intagna på anstalter skildras i fiktiva fängelsemiljöer. Med hjälp av kritisk diskursanalys och med identifikation, konstruktion och intersektionalitet som utgångspunkt vill jag ta reda på hur bilden av den kriminella människan skapas och förmedlas till oss via television. Underhållningskulturen utgör en stor del av hur vi speglar verkligheten och vad vi uppfattar vara axiom. Det innehåll och information som förmedlas till oss är med och formar våra sociala övertygelser och inställningar – även när det kommer till fiktiv representation. Genom utförd analys och stöd från tidigare forskning visar uppsatsen att det innehåll som porträtteras är en överdriven konstruktion av fängelselivet och dess intagna och att den bild av dem som förmedlas tjänar till att bygga upp rädsla och skapa en ännu större klyfta mellan kriminella och samhället. Nyckelord: kritisk diskursanalys, konstruktion, kriminalitet, anstalter, intersektionalitet. Innehållsförteckning 1. Inledning ...............................................................................................................1 2. Syfte och frågeställningar ...................................................................................1 2.1 Syfte 2.2 Frågeställningar 3. Bakgrund ..............................................................................................................2 3.1 Oz 3.2 Orange is the new black .......................................................................................2 3.3 Grupperingar i Oz ................................................................................................3 3.4 Grupperingar i Orange is the new black ..............................................................3 4. Tidigare forskning ...............................................................................................4 4.1 Kriminalitet i populärmedia .................................................................................4 4.2 Vår uppfattning av fängelsemiljöer på TV och film ............................................5 4.3 Postfeminism i Orange is the new black ..............................................................8 4.4 Skildrandet av Oz och dess politiska påverkan ..................................................10 4.5 Uppsatsens bidrag ..............................................................................................12 5. Teoretiska utgångspunkter ...............................................................................13 5.1 Televisionsvetenskap .........................................................................................13 5.2 Identifikation och konstruktion ..........................................................................15 5.3 Intersektionalitet.................................................................................................18 5.4 Teoretisk sammanfattning ..................................................................................19 6. Metod och urval .................................................................................................19 6.1 Kritisk diskursanalys ..........................................................................................19 6.2 Analysmodell .....................................................................................................20 6.3 Urvalsprocess .....................................................................................................20 6.4 Empiriskt material ..............................................................................................21 7. Analys .................................................................................................................22 7.1 Oz .......................................................................................................................22 7.2 Orange is the new black .....................................................................................27 8. Diskussion ...........................................................................................................32 8.1 Diskussion och slutsats ......................................................................................32 8.2 Förslag till vidare forskning ...............................................................................35 9. Källförteckning ..................................................................................................36 1. Inledning Fascinationen över kriminalitet och brottslingar har länge präglat mycket av det innehåll som porträtteras på tv. Krimgenren är en av de största inom populärkulturen och skildras dagligen i olika typer av mediala kanaler, både fiktivt och reellt. Men vad är det egentligen för bild som förmedlas i porträtteringen av förbrytare? På vilket sätt framställer underhållningsindustrin dem och hur påverkar det vidare vår syn på dem? Få tv-serier har valt att skildra en faktisk fängelsemiljö där vi ur ett berättarperspektiv kan ta del av den omgivning som varit delaktig i att forma dem. Den här genren har oftast huvudsakligen porträtterats inom film. Serierna Oz och Orange is the new black är två av dem och har båda fått stora hyllningar av likväl kritiker som publik. I dessa serier får vi ta del av olika karaktärsskildringar – människor som begått olika typer av brott, hur och varför de hamnade där och hur den miljön de placerats i påverkat dem. Serierna är på många vis jämlika med undantaget att den ena serien porträtterar manliga förbrytare och den andra kvinnliga. Genom kritisk diskursanalys vill jag försöka ta reda på hur kriminella karaktärer skildras och om det finns distinkta skillnad mellan dessa två serier. 2. Syfte och frågeställningar 2.1 Syfte Syftet med uppsatsen är att analysera serierna Oz och Orange is the new black utifrån ett perspektiv som fokuserar på konstruktion, identifikation och intersektionalitet. Studien anlägger också ett kritiskt diskursperspektiv. 2.2 Frågeställningar • Hur framställs intagna på anstalter i serierna Oz och Orange is the new black enligt ett analysschema som bygger på kritisk diskursanalys? • Går det att se några distinkta skillnader? 1 3. Bakgrund 3.1 Oz Oz sändes under åren 1997 till 2003 på HBO. Serien utspelar sig i det fiktiva Oswald State Correctional Facility, en sluten högsäkerhets anstalt. Karaktären Augustus Hill skildrar i början av varje avsnitt det kommande innehållet för åskådarna och drar ofta historiska, politiska, religiösa och filosofiska paralleller till livet i fängelse. Större delen av seriens innehåll utspelas i en sektion av fängelset som kallas Emerald City, en avdelning som blivit ett slags socialt experiment uppdagat av en socialpsykolog som också fungerar som enhetschefen. De intagna har handplockats efter ras och grupptillhörighet i ett försöka att skapa en så stor mångfald som möjligt och är under konstant övervakning för att på så sätt försöka minska på hierarkier och anspänningar. Förhoppningarna om en bättre miljö raseras snabbt och serien präglas av explicit innehåll som våld, droger och sexuella övergrepp. I pilotavsnittet anländer den nyligen dömde Tobias Beecher till Oz och skapar enorm kontrast. Beecher är en framgångsrik advokat med alkoholproblem. Efter att ha råkat kört ihjäl ett barn under en rattfylla hamnar han på anstalten där hans naivitet snabbt utnyttjas och han utsätts för övergrepp. En stor del av serien kretsar kring Beechers personliga utvecklingen och hur fängelset förändrar honom. Han kämpar med att navigera sig i något som är så långt bortom det liv han själv känner till. 3.2 Orange is the new black Denna serie sändes under åren 2013 till 2019 på Netflix. Den utspelar sig i den fiktiva anstalten Litchfield Penitentiary men är till skillnad från Oz baserad på en kvinnas memoarer från sin tid på en anstalt och som begått samma brott som huvudkaraktären Piper. Boken som bär samma titel skiljer sig dock till större delen i övrigt från de händelser och karaktärer som serien valt att skildra. Under de tidigare säsongerna utspelar sig serien
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