We Don't Need More Prisons, Bigger Prisons, Better Prisons. We Need Better Justice.”
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The One Who Knocks: the Hero As Villain in Contemporary Televised Narra�Ves
The One Who Knocks: The Hero as Villain in Contemporary Televised Narra�ves Maria João Brasão Marques The One Who Knocks: The Hero as Villain in Contemporary Televised Narratives Maria João Brasão Marques 3 Editora online em acesso aberto ESTC edições, criada em dezembro de 2016, é a editora académica da Escola Superior de Teatro e Cinema, destinada a publicar, a convite, textos e outros trabalhos produzidos, em primeiro lugar, pelos seus professores, investigadores e alunos, mas também por autores próximos da Escola. A editora promove a edição online de ensaio e ficção. Editor responsável: João Maria Mendes Conselho Editorial: Álvaro Correia, David Antunes, Eugénia Vasques, José Bogalheiro, Luca Aprea, Manuela Viegas, Marta Mendes e Vítor Gonçalves Articulação com as edições da Biblioteca da ESTC: Luísa Marques, bibliotecária. Editor executivo: Roger Madureira, Gabinete de Comunicação e Imagem da ESTC. Secretariado executivo: Rute Fialho. Avenida Marquês de Pombal, 22-B 2700-571 Amadora PORTUGAL Tel.: (+351) 214 989 400 Telm.: (+351) 965 912 370 · (+351) 910 510 304 Fax: (+351) 214 989 401 Endereço eletrónico: [email protected] Título: The One Who Knocks: The Hero as Villain in Contemporary Televised Narratives Autor: Maria João Brasão Marques Série: Ensaio ISBN: 978-972-9370-27-4 Citações do texto: MARQUES, Maria João Brasão (2016), The one who knocks: the hero as villain in contemporary televised narratives, Amadora, ESTC Edições, disponível em <www.estc.ipl.pt>. This work is licensed under a Creative Commons Attribution-NonCommercial-No Derivatives 4.0 International License. https://wiki.creativecommons.org/wiki/CC_Affiliate_Network O conteúdo desta obra está protegido por Lei. -
Oz, La Prison Et L'art De La Fugue
Document generated on 09/30/2021 5:17 a.m. Cinémas Revue d'études cinématographiques Journal of Film Studies Oz, la prison et l’art de la fugue Oz, Prison and the Art of the Fugue François Jost Fictions télévisuelles : approches esthétiques Article abstract Volume 23, Number 2-3, Spring 2013 The series Oz features a prisoner, Augustus Hill, in a kind of transparent cage, addressing the television viewer at the beginning, middle and end of each URI: https://id.erudit.org/iderudit/1015188ar episode. At first sight, he appears to be extra-diegetic and his comments appear DOI: https://doi.org/10.7202/1015188ar to be related semantically to the episode. In reality, this “narrative cell” is both an immune space and a buffer zone between the outside world and the prison, See table of contents and then between the world of the dead and the world of the living. The author begins by studying the multiple variations in Hill’s interventions from both an iconic and an artistic point of view. While they are constantly being recreated, they have a paradoxical rhetorical function which might be described as Publisher(s) characteristic of American television series and whose roots lie in an Cinémas Anglophone literary tradition, that of the commonplace book. The particularity of Oz is that its narrative is built on the cornerstone of television’s intimacy : looking at the camera. Through his analysis, the author seeks to demonstrate ISSN that, if we are to understand series as televisual objects, they must be put back 1181-6945 (print) in their context and finality, that of a programmed broadcast in a medium 1705-6500 (digital) which accompanies television viewers in their temporality. -
"I Do Feel the Fire!": the Transformations of Prison-Based Black Male Converts to Islam in South Central, Malcolm X, A
Journal of Religion & Film Volume 21 Article 35 Issue 1 April 2017 4-1-2017 "I Do Feel the Fire!": The rT ansformations of Prison-Based Black Male Converts to Islam in South Central, Malcolm X, and Oz Kameron J. Copeland [email protected] Recommended Citation Copeland, Kameron J. (2017) ""I Do Feel the Fire!": The rT ansformations of Prison-Based Black Male Converts to Islam in South Central, Malcolm X, and Oz," Journal of Religion & Film: Vol. 21 : Iss. 1 , Article 35. Available at: https://digitalcommons.unomaha.edu/jrf/vol21/iss1/35 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. "I Do Feel the Fire!": The rT ansformations of Prison-Based Black Male Converts to Islam in South Central, Malcolm X, and Oz Abstract Historically, imprisoned Black male converts to Islam have been known for their narratives of redemption and struggles for religious freedom behind bars. While Islam possesses a strong visible presence throughout predominately Black areas of inner cities, it has become a natural feature of Black popular culture in mediums such as hip-hop, film, and literature. By the 1990s, the portrayal of Islamic conversions yielding Malcolm X- style transformations among young Black men, who formerly embodied self-destructiveness, were visible in films featuring Black male protagonists. The prison-based transformations typically involved highly influential Black Muslim leaders improving the social conditions of the inmate, the development of a linkage between religion and racial identity, and the observance of gradual Islamic self-restraint. -
The Portrayal of White Organized Racist Characters on Television
The Portrayal of White Organized Racist Characters on Television How White Organized Racist Characters are Portrayed in Oz, Sons of Anarchy, and Justified By: Gina Benedicte Halvorsen A Thesis Presented To: The Department of Literature, Area Studies, and European Languages. North-American Area Studies Faculty of Humanities In Partial Fulfillment for the MA Degree UNIVERSITETET I OSLO Fall 2012 © Gina Benedicte Halvorsen 2012 The Portrayal of White Organizt Racist Characters on Television Gina Benedicte Halvorsen http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo II Abstract: The purpose of this thesis is to look at how white organized racist characters are portrayed on television by taking a closer look at the white organized racist characters portrayed in Oz, Sons of Anarchy and Justified. It will look closer at how the social class and social status of these characters have been defined and portrayed. It will also look at how the white organized racist characters perform their gender and what types of masculinity they display, and analyze the usage of racist symbols in the form of tattoos. This thesis will show that all of the white organized racist characters portrayed in Oz, Sons of Anarchy, and Justified are male. Most of these male characters belong to a lower social class and they use social status to gain control over their environment, and to be able to advance within their society. The male characters perform their gender with intensity and as high-powered men. Most of these men show violent tendencies and little regard for the lives and wellbeing of others. -
Translation of Swearwords in OZ
UNIVERSITY OF VAASA Faculty of Philosophy English Studies Anette Tuhkanen Is a Foul Word Said Like It Is? Translation of Swearwords in OZ Master’s Thesis Vaasa 2017 1 TABLE OF CONTENTS ABSTRACT 5 1 INTRODUCTION 7 1.1 Material 10 1.2 Method 17 2 SWEARING AND SWEARWORDS 20 2.1 Defining Swearwords 20 2.2 Classification of Swearwords 22 2.3 Motivations for Swearing 26 3 SUBTITLING AND TRANSLATION STRATEGIES 29 3.1 Types of Subtitles 30 3.2 Subtitling Constraints 32 3.3 Translation Strategies and Interlingual Subtitling 34 3.4 Fan Translation 39 3.5 Quality of Subtitles 43 4 TRANSLATION OF SWEARWORDS IN OZ 46 4.1 Main Findings 47 4.2 Paraphrase and Sub-categories 54 4.2.1. Paraphrase: Equivalence 54 4.2.2 Paraphrase: Harder 60 4.2.3 Paraphrase: Softer 64 4.2.4 Paraphrase: Neutralized 68 4.3 Deletion 73 4.4 Transfer 78 4.5 Resignation 83 2 5 CONCLUSIONS 87 WORKS CITED 90 APPENDICES Appendix 1. Scene list 95 Appendix 2. Character list 97 Appendix 3. List of Swearwords 100 Appendix 4. Translation Critique on Finnish Discussion Forums 101 FIGURES Figure 1. Global and Local Strategies Illustrated 19 Figure 2. Variations of Swearing and Word Magic (Hughes 2006: xvi) 23 Figure 3. Topography of Bad Language (Milwood-Hargrave 2000: 8) 24 Figure 4. Psychological Motives for Cursing (Jay 1999: 88) 27 Figure 5. Centripetal Effect in Translation (Henrik Gottlieb 2012: 52) 35 Figure 6. Distribution of Words into Different Swearword Categories 48 Figure 7. Translation Strategies by the Different Translators Compared 53 PICTURES Picture 1. -
Rhétorique Et Sérialité: Le Cas ''Oz''
Rhétorique et sérialité : le cas ”Oz” Séverine Barthes To cite this version: Séverine Barthes. Rhétorique et sérialité : le cas ”Oz”. Les Séries Télévisées, Aug 2002, Cerisy-la-Salle, France. halshs-00681910 HAL Id: halshs-00681910 https://halshs.archives-ouvertes.fr/halshs-00681910 Submitted on 22 Mar 2012 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Rhétorique et sérialité : le cas Oz par Séverine Barthes L’étude rhétorique d’une série télévisée peut se faire à travers trois axes : l’argumentation intradiégétique (qui a lieu entre les personnages), l’argumentation ex- tradiégétique (qui a lieu de la série vers le téléspectateur) et l’argumentation métadié- gétique (qui correspond au discours de la télévision sur la série télévisée). Nous ne nous interrogerons ici que sur les modalités de l’argumentation extradiégétique de la série télévisée Oz : cette dernière, créée par Tom Fontana et Barry Levinson, prend place dans un quartier expérimental du pénitencier d’Oswald, surnommé « Oz ». Elle nous raconte la vie des prisonniers et des membres de l’administration pénitentiaire, en mettant tout particulièrement en avant leur violence et les difficultés qu’ils ren- contrent tout en nous proposant une réflexion sur le système pénal américain. -
What Is It”? Containing the Threat of the Black Male Body In
“What Is It”? Containing the Threat of the Black Male Body in American Popular Culture. Jonathan David Tomas Ward A Thesis Submitted for the Degree of Doctor of Philosophy, University of East Anglia, School of American Studies, May 2016. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived there from must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. 2 Abstract. This thesis takes a critical look at the representation of the black male body in American popular culture throughout the twentieth century, intending to examine the meanings ascribed to this body and analyze the ways that these meanings are communicated to the consumers of these cultural productions. The focus will be on visual examples of popular cultural productions, with the intention of examining representations of the black male body in film, photography, and television, and the viewer. In looking at these cultural texts, the thesis will seek to examine the relationship between visual text and spectator, in terms of how these contribute to understandings of black masculinity. Because of the impact of cultural productions upon conceptions of the world, the self, and the relationship between the two, this thesis will seek to develop an understanding of the way that black masculinity is depicted visually, and what the implications of this are for American culture. 3 Acknowledgements. Although I may have typed these words myself, this thesis could not have been completed without the help of many others: as they say, it takes a whole village…….and this certainly feels like my child in many ways! Heartfelt thanks go to the following: Sarah and Jon – for being my cheerleaders, counsellors, sounding boards, sage advisors…. -
A New Prison
A New Prison Name: Simon Huber Student Number: Thesis for the completion of the RMa Cultural Analysis Supervisor: Hanneke Stuit Second Reader: Joost de Bloois Index Introduction 1 Chapter 1: The underrepresentation of Oz’ ambiguity 5 The ideological function of unrealistic hyper-violence 5 Queering in Oz 7 Oz’ mise en abyme reflection on the representation of prisons 9 Chapter 2: A History of Power Operations in EmCity 16 Accumulating mechanisms 16 Control and Spectacular Mechanisms in EmCity 22 Prison in a Control Society 25 Chapter 3: Prison culture and collective resistance 29 Prison Culture 29 Disrupting contained culture 32 Unruly dissensus in Oz 36 The Build-up 37 The Riot 39 The Aftermath 45 Conclusion 49 Works Cited 53 Appendix A: A List of Relevant Characters 56 Appendix B: A Full Synopsis of Oz 61 Huber 1 Introduction The object of my thesis is the prison drama Oz. The series deals with an experimental unit set up inside Oz, fully named Oswald Maximum Security Prison. The unit, called Emerald City1, is run by college-educated liberal Tim McManus2 who believes he can reform the inmates of this unit and offer them a better life. To do this, EmCity does not match other representations of prisons, which provide an image of a dark and dirty place dominated by steel bars. Instead it is a clean and well-lit cell block filled with clear glass pods and a spacious communal space. As such, it offers a new view of the prison. Oz ran from 1997 to 2003, totalling 56 55-minute episodes.