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The Life and Afterlife of Photography in the Wire Paul M
Access Provided by University of Michigan @ Ann Arbor at 07/25/11 2:21PM GMT The LaST RITeS oF D’aNgeLo BaRkSDaLe: The LIFe aND aFTeRLIFe oF PhoTogRaPhy IN The Wire Paul M. Farber i can never see or see again in a film certain actors whom i know to be dead without a kind of melancholy: the melancholy of Photography itself. —roland Barthes, Camera Lucida1 Somebody snapping pictures, they got the whole damn thing. —D’Angelo Barksdale, The Wire2 I In a 2005 public forum celebrating The Wire hosted by the Museum of Television & Radio, major figures from the production team and cast gathered to discuss the series and its impact. Cocreators David Simon and ed Burns, among others, fielded questions from critick en Tucker before taking inquiries from the audience. one woman, who introduced herself as a criminal attorney, credited the show’s many on-screen and offscreen contributors for their “realistic” elaboration of the investigation process. In the world of The Wire, a criminal investigation offers the narrative frame for each season. But, as a caveat to her praise, she offered one tar- geted counterpoint, a moment in the series in which histrionics seemed to trump authenticity. She highlighted a scene occurring toward the end of the first season, a breakthrough in the series’ first sustained case involving the Barksdale drug ring. In this episode, police investigators and a state attorney attempt to turn D’angelo Barksdale, wayward nephew of king- pin avon Barksdale, toward testifying against his uncle’s syndicate. Throughout the season, as the Barksdales became wary of the case against Criticism, Summer & Fall 2010, Vol. -
Life on the Wire: Deconstructing Race on the Internet
This article was downloaded by: [New York University] On: 05 December 2013, At: 20:36 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Information, Communication & Society Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rics20 LIFE ON THE WIRE André Brock a a University of Iowa , 3074 Main Library, Iowa City, IA, 52242-1420, USA Published online: 09 Mar 2011. To cite this article: André Brock (2009) LIFE ON THE WIRE, Information, Communication & Society, 12:3, 344-363, DOI: 10.1080/13691180802660628 To link to this article: http://dx.doi.org/10.1080/13691180802660628 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content. -
The Wire the Complete Guide
The Wire The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 29 Jan 2013 02:03:03 UTC Contents Articles Overview 1 The Wire 1 David Simon 24 Writers and directors 36 Awards and nominations 38 Seasons and episodes 42 List of The Wire episodes 42 Season 1 46 Season 2 54 Season 3 61 Season 4 70 Season 5 79 Characters 86 List of The Wire characters 86 Police 95 Police of The Wire 95 Jimmy McNulty 118 Kima Greggs 124 Bunk Moreland 128 Lester Freamon 131 Herc Hauk 135 Roland Pryzbylewski 138 Ellis Carver 141 Leander Sydnor 145 Beadie Russell 147 Cedric Daniels 150 William Rawls 156 Ervin Burrell 160 Stanislaus Valchek 165 Jay Landsman 168 Law enforcement 172 Law enforcement characters of The Wire 172 Rhonda Pearlman 178 Maurice Levy 181 Street-level characters 184 Street-level characters of The Wire 184 Omar Little 190 Bubbles 196 Dennis "Cutty" Wise 199 Stringer Bell 202 Avon Barksdale 206 Marlo Stanfield 212 Proposition Joe 218 Spiros Vondas 222 The Greek 224 Chris Partlow 226 Snoop (The Wire) 230 Wee-Bey Brice 232 Bodie Broadus 235 Poot Carr 239 D'Angelo Barksdale 242 Cheese Wagstaff 245 Wallace 247 Docks 249 Characters from the docks of The Wire 249 Frank Sobotka 254 Nick Sobotka 256 Ziggy Sobotka 258 Sergei Malatov 261 Politicians 263 Politicians of The Wire 263 Tommy Carcetti 271 Clarence Royce 275 Clay Davis 279 Norman Wilson 282 School 284 School system of The Wire 284 Howard "Bunny" Colvin 290 Michael Lee 293 Duquan "Dukie" Weems 296 Namond Brice 298 Randy Wagstaff 301 Journalists 304 Journalists of The Wire 304 Augustus Haynes 309 Scott Templeton 312 Alma Gutierrez 315 Miscellany 317 And All the Pieces Matter — Five Years of Music from The Wire 317 References Article Sources and Contributors 320 Image Sources, Licenses and Contributors 324 Article Licenses License 325 1 Overview The Wire The Wire Second season intertitle Genre Crime drama Format Serial drama Created by David Simon Starring Dominic West John Doman Idris Elba Frankie Faison Larry Gilliard, Jr. -
Crime, Class, and Labour in David Simon's Baltimore
"From here to the rest of the world": Crime, class, and labour in David Simon's Baltimore. Sheamus Sweeney B.A. (Hons), M.A. (Hons) This thesis is submitted to Dublin City University for the award of Ph.D in the Faculty of Humanities and Social Sciences. August 2013 School of Communications Supervisors: Prof. Helena Sheehan and Dr. Pat Brereton I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Ph.D is entirely my own work, and that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ___________________________________ (Candidate) ID No.: _55139426____ Date: _______________ TABLE OF CONTENTS Introduction 1 Literature review and methodology 17 Chapter One: Stand around and watch: David Simon and the 42 "cop shop" narrative. Chapter Two: "Let the roughness show": From death on the 64 streets to a half-life on screen. Chapter Three: "Don't give the viewer the satisfaction": 86 Investigating the social order in Homicide. Chapter Four: Wasteland of the free: Images of labour in the 122 alternative economy. Chapter Five: The Wire: Introducing the other America. 157 Chapter Six: Baltimore Utopia? The limits of reform in the 186 war on labour and the war on drugs. Chapter Seven: There is no alternative: Unencumbered capitalism 216 and the war on drugs. -
Second Chances in the Wire: Perspectives from Psychology and the Judiciary
University of Chicago Legal Forum Volume 2018 Article 9 2019 Second Chances in The irW e: Perspectives from Psychology and the Judiciary Rebecca R. Pallmeyer Dan P. McAdams Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Recommended Citation Pallmeyer, Rebecca R. and McAdams, Dan P. (2019) "Second Chances in The irW e: Perspectives from Psychology and the Judiciary," University of Chicago Legal Forum: Vol. 2018 , Article 9. Available at: https://chicagounbound.uchicago.edu/uclf/vol2018/iss1/9 This Article is brought to you for free and open access by Chicago Unbound. It has been accepted for inclusion in University of Chicago Legal Forum by an authorized editor of Chicago Unbound. For more information, please contact [email protected]. Second Chances in The Wire: Perspectives from Psychology and the Judiciary The Hon. Rebecca R. Pallmeyer† & Dan P. McAdams†† ABSTRACT Playing off a scene in The Wire wherein prison inmates discuss whether Ameri- can lives have “second acts,” this essay considers psychological and legal issues at play in people’s efforts to turn their lives around, from bad to good. In the first half of the essay, a professor of psychology discusses empirical research into re- demptive life stories in which people find positive meaning in suffering and/or transform their lives from failure to relative success. While examples of redemp- tive life stories may be found in The Wire, making good on second chances seems to be a relatively rare occurrence. In the second half, a federal judge considers the issue of second chances in the American legal system, focusing on the issue of sen- tencing. -
Narrating “White Slavery!” in the Wire: a Generic Genealogy
Narrating “White Slavery!” in The Wire: A Generic Genealogy LAURA T. MURPHY, LOYOLA UNIVERSITY NEW ORLEANS According to conservative estimates compiled by the Walk Free Foundation in 2013, an estimated 30 million people are forced to toil as slaves in the world today. More than ten thousand men, women, and children are trafficked into the United States alone each year. Many of them are sold as sex slaves, while others are exploited as domestic, factory, and agricultural laborers. Though contemporary slavery typically does not announce itself in the antebellum form of chattel slavery familiar to Americans, the people who are called slaves today are indeed slaves as we historically understand the term — they are forced to work through threat of violence, with no pay beyond subsistence, and with little or no ability to escape.1 While government policy white papers, social science texts, and documentaries about this global crime rarely enjoy wide public attention, several more popular depictions of modern- day slavery have emerged recently in an attempt to interrupt the gaping silence regarding this serious issue.2 In 2003 the acclaimed Home Box Office (HBO) television series The Wire (2002 – 8) courageously addressed the issue of modern- day slavery and its effects on US politics, economics, and social values. Each season of The Wire introduces several new characters, a new crime to be investigated, and a new network of injustice that disturbs the fleeting tranquility of the city of Baltimore. In the sec- I would like to thank Fran Bartkowski for encouraging me to write this essay and for the con- versations that helped lead me here. -
I:\28531 Ind Law Rev 46-2\46Masthead.Wpd
THE WIRE AND ALTERNATIVE STORIES OF LAW AND INEQUALITY ROBERT C. POWER* INTRODUCTION The Wire was a dramatic television series that examined the connections among crime, law enforcement, government, and business in contemporary Baltimore, Maryland.1 It was among the most critically praised television series of all time2 and continues to garner substantial academic attention in the form of scholarly articles,3 academic conferences,4 and university courses.5 One aspect * Professor, Widener University School of Law. A.B., Brown University; J.D., Northwestern University Law School. Professor Power thanks Alexander Meiklejohn and John Dernbach for their comments on an earlier draft of this Article. He also thanks Lucas Csovelak, Andrea Nappi, Gabor Ovari, Ed Sonnenberg, and Brent Johnson for research assistance. 1. Substantial information about the series is available at HBO.COM, http://www.hbo.com/ the-wire/episodes#/the-wire/index.html [hereinafter Wire HBO site]. This site contains detailed summaries of each episode. Subsequent references to specific episodes in this Article refer to the season, followed by the number of the episode counting from the beginning of season one, and then the name of the episode. For example, the first episode of season four, which introduces the four boys who serve as protagonists in season four, is The Wire: Boys of Summer (HBO television broadcast Sept. 10, 2006) [hereinafter Episode 4-38, Boys of Summer]. Additional information is available at The Wire, IMDB.COM, http://www.imdb.com/ title/tt0306414/ (last visited Mar. 26, 2013) [hereinafter Wire IMDB site]. Several books contain essays and other commentaries about the series. -
The Black Image in the White Mind: Educational Consequences of Media Racism
THE BLACK IMAGE IN THE WHITE MIND: EDUCATIONAL CONSEQUENCES OF MEDIA RACISM Sheldon A. Lanier A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Education in the School of Education. Chapel Hill 2017 Approved by: Kathleen Brown Dana Thompson-Dorsey Misti Williams © 2017 Sheldon A. Lanier ALL RIGHTS RESERVED ii ABSTRACT Sheldon A. Lanier: The Black Image in the White Mind: Educational Consequences of Media Racism (Under the direction of Kathleen Brown) In the United States of America, Black male students often face a cultural disconnect when entering classrooms today. As a result, outcomes for these students, including academic ones, are both alarming and reprehensible. It is conceivable that a link exists between the exposure to negative racial portrayals of Black males in the media, teachers’ perceptions of their Black male students, and the negative treatments of Black males that result. These perceptions are important when examining how they can affect school policies and practices institutionally. Given the multitude of structures that help shape the negative outcomes of Black males in this country, mixed methods on both quantitative and qualitative inquiry were used to explore and examine the following questions: 1) How are Black males portrayed in the HBO original series, The Wire? 2) Do these portrayals reify (or, not) stereotypes of Black males in the United States? 3) How might these portrayals cultivate White female teachers’ perceptions and subsequent treatment of Black male students? The Wire was used as the media content sample due to the vast amount of Black male actors in lead or prominent recurring roles. -
The Wire Et Le Mélodrame Américain De Noirs Et Blancs (Extrait)*
128 Linda Williams (traduction de l’américain par Sylvain Portmann, approuvée par l’auteure) The Wire et le mélodrame américain de Noirs et Blancs * * Ce passage est extrait du chapitre 6 (extrait) « Feeling Race. The Wire and the Amer- ican Melodrama of Black and White » tiré de l’ouvrage On The Wire de Linda Williams (Durham et Londres, Duke Uni- versity, 2014), pp. 187-209. […] Le mélodrame racial dans The Wire Nous avons vu que The Wire est assurément un mélodrame, et un mélo- drame au sein duquel la race joue un rôle. Ce n’est pourtant pas un mélo- drame de Noirs et Blancs comme décrit précédemment : les méchants Blancs racistes ne sont pas opposés aux bons Blancs progressistes, à la 1 Personnage-type attribué aux Noirs manière des variantes du Magical Negro 1, et ce n’est assurément pas une qui possède des pouvoirs surnaturels, lui série qui représente les Noirs comme un ensemble de malfaiteurs, mal- permettant ainsi d’aider un personnage gré leur nombre certes important. De façon plus stimulante, le monde blanc [ndtr]. n’apparaît pas comme insensible à la Couleur. Et l’imaginaire spatial noir n’y est pas présenté comme minoritaire non plus. Comme nous l’avons évoqué, Baltimore est majoritairement peuplé de Noirs, qui ne vivent pas tous dans un ghetto. Ainsi l’affirmation de Lipsitz qui clame que « quelle que soit la mesure ou la noblesse du combat de ses habitants contre les conditions du ghetto, le ghetto demeure l’habitat visiblement naturel des Noirs dans The Wire » ne fait aucun sens – pas davantage que The Wire soit la « création calculée et auto-intéressée de la suprématie 2 George Lipsitz, How Racism Takes blanche » 2. -
Journal of Mental Health and Social Behaviour Illustrating Human Behavior Theories in Social Work Using HBO’S the Wire Jocelyn Devance Taliaferro1*, MSW, Phd, Lucy A
Taliaferro, J.D.V and Lawrenceb, L.A. (2021). J Ment Health Soc Behav, 3(1): 130 https://doi.org/10.33790/jmhsb1100130 Journal of Mental Health and Social Behaviour Illustrating Human Behavior Theories in Social Work Using HBO’s The Wire Jocelyn DeVance Taliaferro1*, MSW, PhD, Lucy A. Lawrence2, MSW, PhD 1*Associate Professor, School of Social Work, North Carolina State University, Raleigh, NC 27695, United States. 2Professor, Department of Social Work, Warren Wilson College, Swannanoa, NC, United States. Article Details Article Type: Review Article Received date: 23rd December, 2020 Accepted date: 22nd January, 2021 Published date: 25th January, 2021 *Corresponding Author: Jocelyn DeVance Taliaferro, School of Social Work, North Carolina State University, Raleigh, NC 27695, United States. E-mail: [email protected] Citation: Taliaferro, J.D.V. and Lawrenceb, L.A. (2021). Illustrating Human Behavior Theories in Social Work Using HBO’s The Wire. J Ment Health Soc Behav 3(1):130. https://doi.org/10.33790/jmhsb1100130 Copyright: ©2021, This is an open-access article distributed under the terms of the Creative Commons Attribution License 4.0, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Abstract dependency and addiction, limited affordable housing, unequal access to health and mental health services, crime, and availability of Human Behavior in the Social Environment theories are a crux of employment. Many social work students are limited in their social work education. However, they are often difficult to discuss understanding of the vagaries of these grand challenges [4]. However, in class because theories can be abstract and elusive for students. -
Narrative and Metanarrative
The Wire and the World: narrative and metanarrative Jump Cut 51 spring 2009 http://www.ejumpcut.org/currentissue/index.html Helena Sheehan and Sheamus Sweeney School of Communications Dublin City University Baltimore detectives monitoring a wire tap. © HBO Considered by many critics to be the best television drama series ever, The Wire ran from 2002 to 2008.1 It was made and set in Baltimore, employing a large ensemble cast playing cops, junkies, dealers, lawyers, judges, dockers, prostitutes, prisoners, teachers, students, politicians, journalists.2 The dramatis personae range not only horizontally but vertically, from the foot soldiers of the drug trade, police department, school system and newspapers through the middle management to the higher executives, showing parallel problems and choices pervading the whole society. Starting with the pursuit of a major drugs operation by city cops, the drama moves outward, inward, upward and downward to the docks, city hall, the media and the schools. There are murders, affairs, bribes, trials, exams, elections, promotions, statistics, bylines, prizes, careers rising and falling and much more. Summing up the surface plot does not tell the real story. There is an HBO podcast called ‘4 seasons in 4 minutes’.3 For those who have not seen The Wire, it looks like one more hyped‐up tv drama and makes the critical acclaim surrounding the series seem incomprehensible. For those who have seen it, it is ironically funny and heightens the sense of how much more there is to it than can possibly be conveyed by simply recounting its plotlines. David Simon, its co‐creator, admits that ‘the raw material of our plotting seems to be the same stuff of so many other police procedurals’.4 ‘Weʹre not as smart as The Wire.’ Although it bears many similarities to other police procedurals, it also marks a new departure. -
137 © the Author(S) 2020 R. Twomey, Examining the Wire, Https
INDEX1 A Barksdale, Nathan, 14, 67 Acronyms, 28–36, 49, 50, 55n31 Brother Mouzone (Michael Potts), Alma M. Gutierrez (Michelle 67, 68, 83 Paress), 52 Burns, Ed, 3, 13, 14, 33, 45, 47, 51, Andrews, Donnie, 81, 83 61, 63–65, 67–70, 72, 73, 76, Anton ‘Stinkum’ Artis (Brandon 77, 79, 84, 87, 100, 115 Price), 105 Augustus ‘Gus’ Haynes (Clark Johnson), 52, 57n61 C Avon Barksdale (Wood Harris), Cedric Daniels (Lance Reddick), 34 19n35, 30, 67, 89n24, 104, Chappelle, Joe, 111 105, 120n2 Chester Karol ‘Ziggy’ Sobotka (James Ransone), 109 Chris Partlow (Gbenga Akinnagbe), B 43, 101, 103 Baltimore Sun, 2, 14, 17n19, 19n37, Cinematography, 108, 110 19n39, 51–53, 55n17, 63, 66, Clarence V. Royce (Glynn 73, 75, 76, 89n13, 90n48, Turman), 62, 113 90n54, 100, 103, 112, 123n40, Complex television, 2, 6–10, 108, 123n41, 123n44, 130 118, 132 Balzac, Honoré de, 70, 71, 132 Curated realism, 1–16, 85 1 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2020 137 R. Twomey, Examining The Wire, https://doi.org/10.1007/978-3-030-45992-5 138 INDEX D Howard ‘Bunny’ Colvin (Robert D’Angelo Barksdale (Lawrence Wisdom), 37, 114 Gilliard Jr.), 30, 61, 88n5, Hyper-realism, 11, 13, 83, 92n71, 134 105, 134 Daniel Phelan (Peter Gerety), 30, 80 I The Deacon (Melvin Douglas Intertextuality, 39 Williams), 19n36, 63 Dennis Mello (Jay Landsman), 64 Dickens, Charles, 59–88, 132 J Dickerson, Ernest, 75, 76, 132 James ‘Jimmy’ McNulty (Dominic West), 24, 25, 32, 41, 66, 98 Jay Landsman (Delaney Williams), E 64, 75, 85 Ed Norris (Ed Norris), 64 Edward Tilghman Middle