Chris Lorenz Fixing the Facts
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La Force De L'ordre Sur Écoute
La force de l’ordre sur écoute Fabien TRUONG Comment une enquête ethnographique française et une série américaine nous parlent de la police dans les quartiers urbains paupérisés ? Cet article analyse les proximités dans le traitement du métier de policier entre le livre de Didier Fassin et The Wire. « Shiiiiiiiiiiiiiiiit ! » Après avoir conquis Harvard et les universités anglo-saxonnes, The Wire (Sur écoute), la série télévisée produite par HBO entre 2002 et 2008 et écrite par David Simon, fait officiellement sa rentrée sur les bancs de l’université française : à un premier ouvrage collectif en 20111, succède un séminaire interdisciplinaire en 20122. Louée pour son anticonformisme, la série qui revisite les codes stéréotypiques du cop show nous décrit un quotidien policier dans les ghettos urbains de Baltimore qui fait aujourd’hui étrangement écho à celui qu’a récemment observé Didier Fassin dans une BAC de la banlieue parisienne. Certes, regarder The Wire et lire La Force de l’ordre, c’est d’abord contempler la différence de contexte et de structuration des quartiers paupérisés dans la ville états-unienne et française, du modèle de l’ « hyper-ghetto » à celui de l’ « anti-ghetto » dans l’échelle de « la marginalité urbaine avancée » (Wacquant, 2006 et 2010). C’est aussi la lire à travers deux 1 Burdeau, Emmanuel et Vieillescazes, Nicolas (dir.). 2011. The Wire : Reconstitution collective, Paris: Prairies Ordinaires. 2 « The Wire : a fiction in the ghetto. Race, classe et genre dans les séries télévisées », Université de Paris Ouest Nanterre La Défense. 1 prismes bien distincts : celui de la popularité de la série télévisée et celui de la confidentialité du travail universitaire. -
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. -
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. -
La Violencia Como Habitus En the Wire 1 All in the Game: Violence As Habitus in the Wire
ISSN 2173-5123 All in the game : La violencia como habitus en The Wire 1 All in the game: Violence as Habitus in The Wire Recibido: 25 de octubre de 2012 Aceptado: 20 de diciembre de 2012 Juan David Mateu Alonso IES Vall de la Safor (Villalonga, Valencia) [email protected] Resumen El propósito de este artículo es analizar y comentar el fenómeno de la violencia en la serie norteamericana The Wire (Simon y Burns, crs., 2002-2008). En primera instancia, presento la relevancia de la violencia en la serie y, para explicar el uso de la violencia por parte de algunos personajes, propongo a continuación un somero marco teórico inspirado en Pierre Bourdieu y en Slavoj Žižek: de Žižek tomo la distinción entre violencia subjetiva y objetiva (sistémica y simbólica), además de la metáfora del grado cero de la violencia, mientras que de Bourdieu utilizo el concepto de habitus para explicar la relación entre las acciones individuales y el contexto social. Con el objetivo de aplicar este marco teórico sobre la violencia en The Wire , comento el caso del agente Prez, y también el de algunos personajes vinculados al narcotráfico, entre los que distingo tres tipos generales: el soldado, el negociante y el outsider . Finalmente, tras analizar la violencia como habitus en estos personajes, concluyo con algunas reflexiones sobre el papel de la escuela en la reproducción de la sociedad y la relación entre la violencia y el sistema económico hegemónico. Palabras clave Violencia, habitus , teoría social, Bourdieu, Žižek. Abstract The main purpose of this paper is to analyse and comment the violence in the North American series The Wire (Simon and Burns, crs., 2002-2008). -
Die Dramatisierung Der Macht
Published: Dec. 3, 2015 DOI: 10.16995/lefou.10 Stéphane Boutin · Universität Zürich · [email protected] Die Dramatisierung der Macht Zur Genealogie von Foucaults Metapher der Werkzeugkiste This paper traces some genealogical lines of Foucault's famous tool-box metaphor by discussing hermeneutic and anti-hermeneutic analogies between theory and tool usage. Contrasting Deleuze's and Guattari's philosophy of asignifying machines with Heidegger's and Fink's phenomenological fascination for operativity, the article argues that Foucault's tool imagery draws heavily on Nietzsche's "philosophizing with a hammer". This genealogical hammer is read as a storytelling device used by Nietzsche and Foucault to dramatize historic conflict, staging power relations as complex plays of strategic instrumentality. The ongoing relevance of this dramatization tool is finally examined in David Simon's The Wire. KEYWORDS deleuze, drama, foucault, genealogy, nietzsche, power, the wire, tool-box HOW TO CITE Stéphane Boutin: "Die Dramatisierung der Macht. Zur Genealogie von Foucaults Metapher der Werkzeugkiste", in: Le foucaldien, 1/1 (2015), DOI: 10.16995/lefou.10 Contents 1. Funktionalität: Die Werkzeugkiste als Metapher der Asignifikanz ................................................... 4 2. Operativität: Zur phänomenologischen Faszination für das Zuhandene ..................................... 7 3. Instrumentalität: Nietzsche, die Genealogie, die Dramatisierung ................................................ 12 4. Aktualität: The Wire und das Mutationsnarrativ -
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. -
Drug Markets, Fringe Markets, and the Lessons of Hamsterdam
DISCUSSION DRAFT McMillian Washington and Lee Law Review DRUG MARKETS, FRINGE MARKETS, AND THE LESSONS OF HAMSTERDAM Lance McMillian* INTRODUCTION The Wire is the greatest television series of all-time.1 Not only that, it is the most important.2 The transcendental quality of the show lies in what it teaches those of us living in the United States about ourselves. Even when we as a society know what is the right thing to do, our decaying institutions lack the capacity to act. The ineffectual status quo continues unabated. This feeling of impotence is so jarring to the viewer because we immediately know it to be true: our institutions are broken.3 From this perspective, The Wire is not just a television show; it is an expose on the slow decline of America in the 21st century. One of the most memorable story arcs from The Wire’s five seasons is the rise and fall of Hamsterdam, detailed more fully in Part I of this Article.4 Bunny Colvin, a high-ranking police officer on the verge of retirement, suffers an existential crisis prompted by the ongoing futility of Baltimore’s drug war. His novel response is to create quasi-legalized drug zones, which are quickly dubbed “Hamsterdam” by the drug dealers who populate them. Colvin’s calculus is straightforward: by concentrating the * Associate Professor, Atlanta’s John Marshall Law School. B.A., University of North Carolina at Chapel Hill; J.D., University of Georgia School of Law.. 1 The Wire (HBO television broadcast June 2, 2002-March 9, 2008). -
Greek Gods in Baltimore: Greek Tragedy and the Wire Chris Love
Greek Gods in Baltimore: Greek Tragedy and The Wire Chris Love Criticism, Volume 52, Number 3-4, Summer/Fall 2010, pp. 487-507 (Article) Published by Wayne State University Press DOI: https://doi.org/10.1353/crt.2010.0052 For additional information about this article https://muse.jhu.edu/article/447310 [ This content has been declared free to read by the pubisher during the COVID-19 pandemic. ] Greek GoDS IN BaltIMore: Greek traGeDy aND The Wire Chris love The gods will not save you. —ervin h. Burrell, the Wire1 [ i]t’s the Postmodern institutions that are the gods. And they are gods. And no one is bigger. —David Simon, “Behind the Wire”2 although a television series about drug dealers and police investigators in Baltimore might seem an unlikely candidate for a modern adaptation of ancient Greek tragedy, David Simon has made repeated claims for just such a dramatic pedigree. Simon has often and publicly stated that he in- tended his show as a “Greek tragedy” for our contemporary era. In a rep- resentative interview with the New Yorker, Simon outlines his ambition: [We’ve] ripped off the Greeks: Sophocles, aeschylus, eu- ripides. Not funny boy—not aristophanes. We’ve basically taken the idea of Greek tragedy, and applied it to the mod- ern city-state. [. .] What we were trying to do was take the notion of Greek tragedy, of fated and doomed people, and instead of these olympian gods, indifferent, venal, selfish, hurling lightning bolts and hitting people in the ass for no good reason—instead of those guys whipping it on oedipus or achilles, it’s the postmodern institutions . -
Police Violence in the Wire
University of Chicago Legal Forum Volume 2018 Article 7 2019 Police Violence in The irW e Jonathan Masur Richard H. McAdams Follow this and additional works at: https://chicagounbound.uchicago.edu/uclf Recommended Citation Masur, Jonathan and McAdams, Richard H. (2019) "Police Violence in The irW e," University of Chicago Legal Forum: Vol. 2018 , Article 7. Available at: https://chicagounbound.uchicago.edu/uclf/vol2018/iss1/7 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]. Police Violence in The Wire Jonathan Masur† and Richard H. McAdams†† INTRODUCTION Police brutality—the unsanctioned, unlawful use of force by police against unarmed (and often defenseless) civilians—is one of the recur- ring motifs of The Wire.1 The violence occurs in a variety of settings: occasionally the victim of the police brutality has done something to precipitate it (though the brutality is never justified), but more often the violence is unprovoked and senseless.2 Some police are one-time wrongdoers; others are repeat offenders. Some officers participate in the actual beatings, while others only cover up for the actions of their fellow officers. But in sum, the violence is regular and recurring, if not omnipresent. In this respect, The Wire is not dissimilar from other filmic depictions of police, such as NYPD Blue. What is different is the cast of police officers who are involved in police brutality throughout the show. -
Discipline and Policing: HBO's the Wire As A
THE POPULAR CULTURE STUDIES JOURNAL VOLUME 2 NUMBERS 1 & 2 2014 Editor BOB BATCHELOR Thiel College Associate Editor NORMA JONES Kent State University Associate Editor KATHLEEN TURNER Aurora University Book Review Editor JENNIFER C. DUNN Dominican University Assistant Editor MYC WIATROWSKI Indiana University Assistant Editor MAJA BAJAC-CARTER Kent State University Please visit the PCSJ at: http://mpcaaca.org/the-popular-culture-studies-journal/ The Popular Culture Studies Journal is the official journal of the Midwest Popular and American Culture Association. Copyright © 2014 Midwest Popular and American Culture Association. All rights reserved. Cover photo credits Cover Artwork “Living Popular Culture” by Brent Jones © 2014 “Selfie for Peace” by Savannah Jones © 2014 “Party People” by Roob9 licensed by PhotoDune iPhone frame: Creative Commons “iPhone 5S” by Karlis Dambrans is licensed under CC BY 2.0 EDITORIAL ADVISORY BOARD ANTHONY ADAH JUSTIN GARCIA Minnesota State University, Moorhead Millersville University AARON BARLOW ART HERBIG New York City College of Technology (CUNY) Indiana University - Faculty Editor, Academe, the magazine of the AAUP Purdue University, Fort Wayne JOSEF BENSON ANDREW F. HERRMANN University of Wisconsin Parkside East Tennessee State University PAUL BOOTH JARED JOHNSON DePaul University Thiel College GARY BURNS JESSE KAVADLO Northern Illinois University Maryville University of St. Louis KELLI S. BURNS KATHLEEN A. KENNEDY University of South Florida Missouri State University ANNE M. CANAVAN WILLIAM KIST Emporia State University Kent State University ERIN MAE CLARK LARRY Z. LESLIE Saint Mary’s University of Minnesota University of South Florida BRIAN COGAN MATTHEW MIHALKA Molloy College University of Arkansas - Fayetteville ASHLEY M. DONNELLY LAURIE MOROCO Ball State University Thiel College LEIGH H. -
Critical Response I Wired
Critical Response I Wired Patrick Jagoda In the fourth season of HBO’s television show The Wire, a major may- oral debate unfolds shortly before the Baltimore city election. The debate comes through in a series of fragments, in audio sound bites addressing Baltimore’s crime epidemic and views of the three candidates—incum- bent Clarence Royce, challenger Tony Gray, and the eventual winner Tommy Carcetti—campaigning on different television screens. The visual focus of this sequence, however, is not on the debate itself but on the massive ensemble of characters that is either watching or not watching this episode of political theater. To a few of Baltimore’s citizens it is a central event, but to most this contest is entirely peripheral. During a series of short scenes that takes the debate as its nexus, members of the Royce and Carcetti camps scrutinize the television coverage. Meanwhile, detectives in the homicide unit watch with distant interest, listening selectively for is- sues that pertain to their daily criminal investigations. Ex-con Dennis “Cutty” Wise, in another vignette, notices the debate on his screen before immediately switching the channel to a football game. Even further at the edges, Namond Brice, a young aspiring drug dealer, turns off the debate as if it were televisual static and begins to play Halo 2, a first-person shooter videogame.1 In this series of shots, plotting is subordinated to the detailed mapping of Baltimore’s intersecting social and political worlds. Rather than com- 1. See David Simon, “Soft Eyes,” dir. Christine Moore, 2006, The Wire: The Complete Series, DVD, 23 discs (2002–8), season 4, episode 2. -
Title Who Loves Ya, David Simon?
Title Who Loves Ya, David Simon? Notes towards placing The Wire’s depiction of African-Americans in the context of American TV crime drama Type Article URL http://ualresearchonline.arts.ac.uk/2363/ Date 2009 Citation Sabin, Roger and Gibb, Jane (2009) Who Loves Ya, David Simon? Notes towards placing The Wire’s depiction of African-Americans in the context of American TV crime drama. Darkmatter. pp. 1-14. ISSN 2041-3254 Creators Sabin, Roger and Gibb, Jane Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Who Loves Ya, David Simon? Jane Gibb and Roger Sabin | 29 May 2009 | 4-The Wire Files [May 09] Notes towards placing The Wire’s depiction of African-Americans in the context of American TV crime drama Critics have justifiably praised The Wire for its rounded African-American characters, and the risks it took in foregrounding ‘black Baltimore’ - risks that have harmed its ratings, according to its makers.1 They have concluded that the crime genre has been taken somewhere new. But how new is ‘new’? What the critics couldn’t do - weren’t tasked to do - was to contextualise the show in terms of the history of crime drama on TV. This article will therefore seek to survey a number of key shows from the past that purported to convey a liberal viewpoint, and which have made race a focus. This is in order to suggest ways in which The Wire might be part of a genre tradition - and equally how it might be seen as expanding the parameters of that tradition and saying something genuinely original.