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Coversheet for Thesis in Sussex Research Online A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details REPRESENTATIONS OF SEXUAL PRACTICE AND IDENTITY IN MEN'S PRISONS SINCE THE 1950S IN THE UK AND THE US by Michael J. Riley Submitted for the degree of Doctor of Philosophy in Media and Cultural Studies At the University of Sussex September 2013 2 I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signed:……………………………………….. Except for material quoted and acknowledged this thesis is my own original work. 3 University of Sussex Michael J. Riley Doctor of Philosophy in Media and Cultural Studies Representations of sexual practice and identity in men's prisons since the 1950s in the UK and the US. Summary In this thesis I propose that the representation of the prison is an untapped and valuable resource for non-traditional representations of the queered male, homo-sex and sexualities. I draw together texts on prison and sexuality from the 1800s to the 2000s in order to discuss the representation of prison in light of what it adds to a wider historical understanding of sexuality. The thesis is broadly chronological in form, analysing academic and theoretical texts in context alongside popular cultural representations. I reassess the ways in which sexuality is viewed and understood over time, and place homosexuality within the framework of wider male sexuality as represented in the prison. I theorise a re-imagining of homosexuality within normative male sexuality and I challenge the concept of ‘situational sex’ through the complex issues behind understandings of sex in prison. My research methodology includes close textual analysis of representations of prison in literature, film and television alongside academic and theoretical texts on sexuality, gender and queer theory. Each chapter focuses on specific cultural texts, including Against the Law (1957), Birdman of Alcatraz (1962) Short Eyes (1977), Scum (1977, 1979) and Oz (1997-2003). By drawing the representations and the theories together I am able to provide a re-reading of the texts within a recognition of sexual fluidity and the reclassification of heterosexual males and gender hierarchies. In my research I argue that the representation of sex in prison re-writes sexuality and contributes to a reading of the queering potential of the cultural representation of prison. With this method I challenge conventional understandings of sexuality as well as perceptions of how male sexuality is viewed in popular culture. I argue that the cultural representation of the prison is a site of queer potentiality in form, idea and context and is a means to re-imagine male sexuality. 4 Acknowledgements A huge debt of gratitude and heartfelt thanks goes to my supervisors for their academic brilliance, expert knowledge, insightful critique, constant support, clear direction, and ongoing prodding as well as not letting me get away with anything. Thank you immeasurably to Andy Medhurst and Dr. Lucy Robinson. For incredible painstaking correction, proofreading, great grammar, structural assistance, formatting and fixing the whole piece together a massive thank you for all the insight and hard work to Barbara Droth. For proofreading, hunting out typos, continuity errors in the closing stages and ongoing checking in, nudges and support throughout the years of study to Sue Cornford and Boo Sherriff. And a general thank you to those who have kept me sane, cajoled, checked, hassled, supported, listened, put up with countless nearly there’s and offered smiles, hugs and positive encouragement throughout. A huge thank you to Dr. Arnaldo Barone, Emilia Cheng, Dr. Ritu Dhand, Tig Evans and Dr. Sharif Mowlabocus. For the space and means to do this around my work, with time off and ongoing consideration for competing demands, a big thank you to my boss, Paul Newton. For appearing just at the right time to be there through the final stages, holding me together at the end, thank you M.L. Andrew Hewlett. 5 Table of contents Introduction 7 Background 9 Overview of the Thesis 32 Terms of Reference 48 1. Prison (1800s to 1960s) 60 Historical context of the modern prison 62 Criminalisation of homosexuality 78 Representations of prison 82 Case study: Against the Law by Peter Wildeblood (1955) 98 The time and the trial 99 A Homosexual identified and named 106 Prison identifies the Homosexual 110 2. Homosexuality (1890s to 1960s) 119 (The) Homosexual: history and theory 120 Homosexuality in Prison 126 Kinsey’s study: Sexual diversity of the human male 131 Case study: Birdman of Alcatraz (1962) 147 Representing Robert Stroud 148 Introducing Robert Stroud 155 Is Stroud a homosexual? 159 3. Rape (1970s and 1980s) 177 The Body and Rape 180 The Body Uncovered and Examined 190 Rape in Prison 200 Case study: Short Eyes (1977) and Scum (1977 and 1979) 216 6 Pervasive Homosexuality in Short Eyes 216 Rape and the removal of the Missus in Scum 225 4. Queer (1990 and 2000s) 241 Queer Theory: Homosociality and Gender Construction 242 Sexuality, Categories and Identity 254 Case study: Oz (1997 – 2003) 270 Introduction to Oz 270 Rape in Oz 280 Complex sexualities in Oz 287 Conclusion 292 Overview 293 Contribution 299 Future Direction and Further Research 303 Bibliography 308 Filmography 322 7 Introduction Number forty-seven said to number three: You’re the cutest jailbird I ever did see. I sure would be delighted with your company, Come on and do the jailhouse rock with me. Lets rock, everybody, lets rock. Everybody in the whole cell block Was dancin’ to the jailhouse rock. (Jailhouse Rock, Elvis Presley 1957)1 Introductory Statement Interest in the subject of representations of sex in prison began in 1997 with an M.A. dissertation on “A Question of Choice”, looking at theories of sexuality that enabled a degree of agency or choice with regard to sexuality beyond the standard passive signifiers and theories. It was the chapter on single-sex institutions and most notably the prison that I found to most challenge the ways in which sexuality was understood. The ability to change sexual object choice seemed to run counter to popular nature/nurture debates around an acquired sexuality. Alongside this I found that such a change in sexual object choice may not be written permanently on the subject, and may shift back (relatively unproblematically) upon release. This change of sexual object choice 1 Jailhouse Rock was written and produced by Jerry Leiber and Mike Stoller, released 24th September 1957 by RCA Victor. 8 when mapped against societal reaction to homosexual curiosity as a signifier of (at the very least) a latent gayness created, to my mind, a seeming discontinuity of sexual behaviour and identities. This curiosity and knowledge about circumstances in prison grew to an understanding of the centrality of rape in prison as a predominant representational expression of sex in prison through study for that earlier dissertation on ‘choice’. Accounts such as that by Donald Tucker (a.k.a. Donny the Punk) in A Punk’s Song: View from the Inside (1982) in which he recalls how he was raped over sixty times in a two day period in a Washington D.C. facility at the seeming collusion of the institution, alongside the prison study by Anthony Scacco’s of Rape in Prison (1975) led to an understanding of the horror of the situation that those who are raped experience within the prison system. These horrific accounts and a recognition of the damage of prisoner rape seemed directly at odds with the irreverent jokes and asides that appeared throughout popular culture alluding to prisoner rape in comments such as “Don’t drop the soap” and “I’m to pretty to go to prison”2. That the subject of male rape in prison was often vocalised as humorous seemed incongruous at the least and is where this study began in an effort to try to understand how this cultural response to prison, prisoners and prisoner rape could have come from. Therefore the two central research questions for the following thesis are 2 Examples of the statement “I’m too pretty to go to prison” can be found in: True Blood (2008) HBO: 28th September 2008: Season One Episode Four by Jason Stackhouse (played by Ryan Kwanten). Coronation Street (2010) ITV: 17th September 2010, by Kirk Sutherland (played by Andrew Whyment). Also, a variation is in Kick-Ass 2 (Jeff Wadlow, 2013) by the character of Marty/Battle Guy (played by Clark Duke) who says: “My ass is too pretty to go to jail”. References for “Don’t drop the soap” will follow in the main text. 9 broadly focussed on: 1. How can straight identified men have sex with other straight identified men within the prison context and still identify as straight? 2. How is it that prisoner rape has become so trivialised as to be viewed as comical within popular culture? These two questions will be addressed through each chapter. In broad terms the background sections of each chapter will work around developing an understanding of the first question and the case studies will more directly address the second and the move to the popular cultural trivialisation of prisoner rape.
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