DOCSLIB.ORG

Rednecks & Dagos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rednecks & Dagos Institutionen för studier av samhällsutveckling och kultur – ISAK LiU Norrköping Rednecks & Dagos En studie av representation i tv-serien Oz Jonas Olofsson & Rikard Westeman Magisteruppsats från programmet Kultur Samhälle Mediegestaltning Linköpings universitet, LiU Norrköping, 601 74 NORRKÖPING ISAK- Institutionen för studier av samhällsutveckling och kultur ISRN: LIU-ISAK/KSM-A -- 09/13 -- SE Handledare: Jonas Ramsten Nyckelord: Oz, HBO, fängelse, representation, etnicitet, identitet, institution Innehållsförteckning 1. Inledning .......................................................................................................................................1 2. Syfte och frågeställningar .............................................................................................................3 2.1 Syfte .........................................................................................................................................3 2.2 Frågeställningar.........................................................................................................................3 3. Avgränsning ..................................................................................................................................4 3.1 Definition av etnicitetsbegreppet ...............................................................................................5 3.2 Disposition ................................................................................................................................5 4. Material .........................................................................................................................................7 4.1 Oz .............................................................................................................................................7 4.2 Grupperingar inom Oz ...............................................................................................................8 4.2.1 Aryans ................................................................................................................................8 4.2.2 Bikers .................................................................................................................................9 4.2.3 Christians ...........................................................................................................................9 4.2.4 Gays ...................................................................................................................................9 4.2.5 Homeboys...........................................................................................................................9 4.2.6 Irish ................................................................................................................................. 10 4.2.7 Italians ............................................................................................................................. 10 4.2.8 Latinos ............................................................................................................................. 10 4.2.9 Muslims ............................................................................................................................ 11 4.2.10 Others ............................................................................................................................ 11 4.2.11 Prison staff ..................................................................................................................... 11 4.2.12 Övriga ............................................................................................................................ 11 4.3 Kortfattad beskrivning ............................................................................................................. 12 4.3.1 Säsong 1 ........................................................................................................................... 12 4.3.2 Säsong 2 ........................................................................................................................... 14 4.3.3 Säsong 3 ........................................................................................................................... 16 5. Bakgrund..................................................................................................................................... 19 5.1 Amerikansk fängelsefilm som genre ........................................................................................ 19 5.1.2 Genredefinition................................................................................................................. 19 5.1.2 Historisk överblick............................................................................................................ 20 5.1.3 Hollywoods skildring av fängelser .................................................................................... 23 6. Teori ............................................................................................................................................ 26 6.1 Representation ........................................................................................................................ 26 6.1.1 Exempel på representation................................................................................................ 28 6.1.2 Stereotypisering ................................................................................................................ 28 6.1.3 Binära oppositioner .......................................................................................................... 29 6.2 Den totala institutionen............................................................................................................ 32 7. Metod........................................................................................................................................... 35 7.1 Narrativ analys ........................................................................................................................ 35 8. Analys – Oz ................................................................................................................................. 38 8.1 Narrativ analys ........................................................................................................................ 38 8.1.1 Aryans och Bikers ............................................................................................................. 38 8.1.3 Gays ................................................................................................................................. 40 8.1.4 Homeboys......................................................................................................................... 40 8.1.5 Irish ................................................................................................................................. 41 8.1.6 Italians ............................................................................................................................. 42 8.1.7 Latinos ............................................................................................................................. 43 8.1.8 Muslims ............................................................................................................................ 44 8.1.9 Others .............................................................................................................................. 46 8.1.10 Prison staff ..................................................................................................................... 47 8.2 Representation ........................................................................................................................ 48 8.2.1 Säsong 1 ........................................................................................................................... 48 8.2.2 Säsong 2 ........................................................................................................................... 53 8.2.3 Säsong 3 ........................................................................................................................... 55 9. Slutdiskussion.............................................................................................................................. 58 10. Referenslista .............................................................................................................................. 60 10.1 Böcker .................................................................................................................................. 60 10.2 Web ...................................................................................................................................... 61 10.3 Media .................................................................................................................................... 61 11. Bilagor ....................................................................................................................................... 62 Bilaga 1 - Ozipedia ....................................................................................................................... 62 Bilaga 2 - Karktärsmål .................................................................................................................. 63 Bilaga 3 - Primära karaktärer ......................................................................................................... 65 1 1. Inledning Våld, broderliga band och tappade tvålar. Det är några av de mer uppenbara
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.
    [Show full text]
  • Mediamonkey Filelist
    MediaMonkey Filelist Track # Artist Title Length Album Year Genre Rating Bitrate Media # Local 1 Kirk Franklin Just For Me 5:11 2019 Gospel 182 Disk Local 2 Kanye West I Love It (Clean) 2:11 2019 Rap 4 128 Disk Closer To My Local 3 Drake 5:14 2014 Rap 3 128 Dreams (Clean) Disk Nellie Tager Local 4 If I Back It Up 3:49 2018 Soul 3 172 Travis Disk Local 5 Ariana Grande The Way 3:56 The Way 1 2013 RnB 2 190 Disk Drop City Yacht Crickets (Remix Local 6 5:16 T.I. Remix (Intro 2013 Rap 128 Club Intro - Clean) Disk In The Lonely I'm Not the Only Local 7 Sam Smith 3:59 Hour (Deluxe 5 2014 Pop 190 One Disk Version) Block Brochure: In This Thang Local 8 E40 3:09 Welcome to the 16 2012 Rap 128 Breh Disk Soil 1, 2 & 3 They Don't Local 9 Rico Love 4:55 1 2014 Rap 182 Know Disk Return Of The Local 10 Mann 3:34 Buzzin' 2011 Rap 3 128 Macc (Remix) Disk Local 11 Trey Songz Unusal 4:00 Chapter V 2012 RnB 128 Disk Sensual Local 12 Snoop Dogg Seduction 5:07 BlissMix 7 2012 Rap 0 201 Disk (BlissMix) Same Damn Local 13 Future Time (Clean 4:49 Pluto 11 2012 Rap 128 Disk Remix) Sun Come Up Local 14 Glasses Malone 3:20 Beach Cruiser 2011 Rap 128 (Clean) Disk I'm On One We the Best Local 15 DJ Khaled 4:59 2 2011 Rap 5 128 (Clean) Forever Disk Local 16 Tessellated Searchin' 2:29 2017 Jazz 2 173 Disk Rahsaan 6 AM (Clean Local 17 3:29 Bleuphoria 2813 2011 RnB 128 Patterson Remix) Disk I Luh Ya Papi Local 18 Jennifer Lopez 2:57 1 2014 Rap 193 (Remix) Disk Local 19 Mary Mary Go Get It 2:24 Go Get It 1 2012 Gospel 4 128 Disk LOVE? [The Local 20 Jennifer Lopez On the
    [Show full text]
  • Oz Episode Six "King of the Jungle" by Anabelle Lee INT
    Oz Episode Six "King of the Jungle" By Anabelle Lee INT. CU ON AUGUSTUS HILL HILL "Survival of the fittest." One hundred and fifty years ago, some balding old English guy said that. It means -- the strong survive, and the weak can eat shit. INT. ENTRANCE TO OZ PENETENTIARY - MORNING TIM MCMANNUS enters the facility wearing his usual leather jacket with his bag slung over his shoulder. As he walks through the main doors he pauses before a guard stationed there, looking at him with an eyebrow raised. HILL (V.O) Funny coming from an old guy who probably couldn’t throw a punch if his life depended on it, isn’t it? MCMANNUS continues past the first guard, only to find more guards at a makeshift security station, along with a metal detector. He makes to walk past the guards, but they stop him. Even as MCMANNUS holds up his ID card, the guards shake their head. HILL (V.O) But then again, strength isn’t just about who’s got more muscle these days. MCMANNUS, looking disbelieving, surrenders his bag and jacket to the guards, then walks back to go through the metal detector. CUT TO: INT. EMERALD CITY LOBBY - MORNING Relatively early in the morning. Most inmates are just returning from the cafeteria, but a few are already in the lobby, watching television. Among them: TOBIAS BEECHER, VERN SCHILLINGER, several other of the NEO-NAZIS. SIMON ADEBISI is seated at the other side of the lobby, along with JEFFERSON KEANE, KENNY WANGLER and several of the HOMEBOYS.
    [Show full text]
  • 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.
    [Show full text]
  • Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992
    Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 By Felicia Angeja Viator A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair Professor Scott Saul Fall 2012 Abstract Gangster Boogie: Los Angeles and the Rise of Gangsta Rap, 1965-1992 by Felicia Angeja Viator Doctor of Philosophy in History University of California, Berkeley Professor Leon F. Litwack, Co-Chair Professor Waldo E. Martin, Jr., Co-Chair “Gangster Boogie” details the early development of hip-hop music in Los Angeles, a city that, in the 1980s, the international press labeled the “murder capital of the U.S.” The rap music most associated with the region, coined “gangsta rap,” has been regarded by scholars, cultural critics, and audiences alike as a tabloid distortion of East Coast hip-hop. The dissertation shows that this uniquely provocative genre of hip-hop was forged by Los Angeles area youth as a tool for challenging civic authorities, asserting regional pride, and exploiting the nation’s growing fascination with the ghetto underworld. Those who fashioned themselves “gangsta rappers” harnessed what was markedly difficult about life in black Los Angeles from the early 1970s through the Reagan Era––rising unemployment, project living, crime, violence, drugs, gangs, and the ever-increasing problem of police harassment––to create what would become the benchmark for contemporary hip-hop music. My central argument is that this music, because of the social, political, and economic circumstances from which it emerged, became a vehicle for underclass empowerment during the Reagan Era.
    [Show full text]
  • TV/Series, Hors Séries 1 | 2016 the Autumn of the World 2
    TV/Series Hors séries 1 | 2016 Lost: (re)garder l'île The Autumn of the World Pacôme Thiellement Translator: Brian Stacy Electronic version URL: http://journals.openedition.org/tvseries/4981 DOI: 10.4000/tvseries.4981 ISSN: 2266-0909 Publisher GRIC - Groupe de recherche Identités et Cultures Electronic reference Pacôme Thiellement, « The Autumn of the World », TV/Series [Online], Hors séries 1 | 2016, Online since 01 December 2020, connection on 10 December 2020. URL : http://journals.openedition.org/ tvseries/4981 ; DOI : https://doi.org/10.4000/tvseries.4981 This text was automatically generated on 10 December 2020. TV/Series est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. The Autumn of the World 1 The Autumn of the World Pacôme Thiellement Translation : Brian Stacy 1 We know not who we are. We live out lives shrouded in thickest fog, oblivious as to how our roles affect the fates of others and their roles on our own. In Lost, not only has almost every character already indirectly intervened in the lives of the other passengers, but their role has brought about profound changes affecting them to such an extent that they will all eventually wind up on the plane that spirits them away to the island. All are bound by ties so strong, so powerful, that they are as though caught in a terrible mesh, comparable to the tapestry that Jacob weaves when he's chosen as protector of the island. By choosing to operate on Sarah, Jack leaves Adam Rutherford, Shannon's father, to die, causing her to live miserably - it is her wretched existence that drives her to Sidney, where Boone goes to look for her.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • A NARRATIVE ANALYSIS of MALE PRISONER RAPE on HBO's OZ By
    PUNISHMENTS, PRISONERS, & PRAGS: A NARRATIVE ANALYSIS OF MALE PRISONER RAPE ON HBO’S OZ by Myasia Saitta Burns A thesis submitted to the faculty of The University of North Carolina at Charlotte in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies Charlotte 2016 Approved by: ______________________________ Dr. Rachel Plotnick ______________________________ Dr. Jon Crane ______________________________ Dr. Dan Grano ii ©2016 Myasia Saitta Burns ALL RIGHTS RESERVED iii ABSTRACT MYASIA SAITTA BURNS. Punishments, prisoners, & prags: A narrative analysis of male prisoner rape on HBO’S OZ. (Under the direction of DR. RACHEL PLOTNICK) This analysis examines the symbolic rape narratives of Oz and the cultural contexts in which they exist. It confronts visual images of male rape within the show to uncover considerations of masculinity, sexuality, and gender identification in a prison setting. For this study, I used a narrative analysis of the three functions identified in the text: rape as contrast, rape as cliché, and rape as plot device. Through the analysis conducted, Oz displayed some disarmingly untraditional gender role reversals through scenes of male rape, negotiating male homosociality where other shows typically only explore heterosociality, especially with regard to sexual assault. Previous studies on rape representations posit that regardless of the individual characteristics of the storyline, rape narratives typically reinforce a dominant patriarchal ideology by positioning victims as weaker characters than the heroes. Oz cannot be classified as either wholly reinforcing patriarchal norms or defying them, as the show negotiates both options. With regard to media studies and social change, we cannot say for sure whether Oz engineered or spurred ideas of prison rape reform, which is a movement that consequently took place during the initial broadcast years of Oz.
    [Show full text]
  • ALL Cds ARE $7.99! ALL Cds ARE $7.99! ALL Cds ARE $7.99!
    YMCMB (YOUNGALL CDs MONEY ARE CASH ALL CDs ARE ALL CDs ARE MONEY BILLIONAIRES)$7.99! $7.99! $7.99! ¢ITEM see inside cover ¢ITEM 1 1 see inside cover A. No Ceilings B. Nobody Likes Me Lil Wayne Lil Wayne VOTED YEAR’S BEST BY “XXL” ITEM 53356010N- EXPLICIT ITEM 53357010N - EXPLICIT Ship Wt: 4 oz. Ship Wt: 4 oz. CD INCLUDES: Swag Surf • No Ceilings CD INCLUDES: 60 Rackz (Ft. Jim Jones) • Pop (Birdman) • Sweet Dreams (Beyonce, Lil Wayne That Remix (French Montana, Lil Wayne & Rick & Nicki Minaj) Ross) • Bandz a Make Her Dance (Ft. 2 Chainz & Juicy J) C. Dedication 4 - Gangsta Grillz D. Well Done 3 Lil Wayne Tyga ITEM 53358010N - EXPLICIT ITEM 53360010N - EXPLICIT Ship Wt: 4 oz. Ship Wt: 4 oz. CD INCLUDES: So Dedicated (Ft. Birdman) • CD INCLUDES: Riot (Ft. Honey Cocaine) • Cashed Out • My Homies Still Remix (Ft. Young I Remember (Ft. The Game & Future) Jeezy, Jae Millz & Gudda Gudda) • Ayye ***** E. So Far Gone F. Triple Threat 6 Drake Lil Wayne, Drake and ITEM 53359010N - EXPLICIT Nicki Minaj Ship Wt: 4 oz. ITEM 53194010N- EXPLICIT CD INCLUDES: Best I Ever Had • Successful Ship Wt: 4 oz. (Ft. Trey Songz & Lil Wayne) • Im Goin In CD INCLUDES: Roman Reloaded - Nicki Minaj (Ft. Lil Wayne & Young Jeezy) (Ft. Lil Wayne) • Faded - Lil Wayne (Ft. Tyga) • I Do - Drake • Va Va Voom - Nicki Minaj • Y U Mad - Nicki Minaj, Lil Wayne and Birdman ALL CDs ARE MMG $7.99! (MAYBACH MUSIC GROUP) A. Corna Boyz Part 19 VOTED YEAR’S BEST BY “XXL” B.
    [Show full text]
  • 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….
    [Show full text]
  • 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.
    [Show full text]