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Camera Stylo Proof 2 THE ‘GAME’ AND THE ‘PAWNS’: SYSTEMIC ANALYSIS IN THE WIRE STEPHANIE Scripted television is not generally considered an ideal LE SAUX-FARMER — medium through which to present large-scale social and political critiques. Its episodic nature fragments The Wire (2002-2008) information and “resists long, more complex messages” (Bandes 10). Indeed, television narratives often present simplistic characters, emblematic fgures who serve reaf- firm audience expectations about class and race (Bandes 10). HBO’s The Wire defies these common conceptions by constructing a complex narrative that presents a sys- temic critique of urban inequality. Set in Baltimore, Maryland, the series explores the political, educational, judicial, policing, and media systems of the city, reveal- ing the ways these institutions, together, perpetuate cur- rent structures of inequality. The Wire’s ability to enact this large-scale critique has garnered considerable schol- arly attention. While many have praised the show for the scope of its analysis, others have accused it of perpetuat- ing stereotypes of the marriage between African Amer- icans and life in the inner city, centered around drugs and violence. The central question, therefore, is this: how does the series perform its systemic analysis, and to what effect? By utilizing a naturalist approach, the series focuses on the relationship between the environ- ment and the individual, exploring the spatial and insti- 2 tutional structures that shape and constrain individual behaviour, ultimately serving to undermine stereotypes Originally from Otawa, Stephanie graduated of inner city life. Visual and formal style expose the spa- from the University of Toronto in 2013, with a tial confinement and institutional constraints that make major in Peace, Confict and Justce Studies, and minors in History and Cinema Studies. She is up the environment, while the narrative and character currently pursuing a Masters degree in Confict, development explore the idea of determinism and works Security and Development at King’s College London, in London England. STEPHANIE LE SAUX-FARMER 25 to undermine stereotypes of American inner city life. stark contrast to the constantly developing and modernizing downtown core (88). In A scene in the ‘pit’, low-rise apartments in a government-housing neighborhood, first season episode “Old Cases”, the world of the suburbs and the world of the inner in “The Buys” episode of first season, outlines the structure of The Wire’s systemic city are juxtaposed, highlighting the spatial differences within the city. Officer Jimmy analysis. In the worn-down courtyard, D’Angelo Barksdale explains the game of chess McNulty drives from his post in West Baltimore, where a group of young children are to two young drug dealers, Bodie, and Wallace. He compares the board to the ‘drug playing on dirty sidewalks, to his son’s soccer game, where the space is open and game’, highlighting that individual pieces navigate according to certain rules, pawns green. Peter Clandfield highlights this scene as evidence of the uneven distribution serve to protect the king, and centrally that “the King stay the King.” Using the chess of recreational space in the series more generally (45). Thompson argues that space is game analogy, The Wire examines urban inequality at the level of the ‘game’, the envi- used as a means to articulate the experiences of the individuals (88). In effect, visual ronment and institutions, and the ‘pawns,’ the individuals within it. markers refect the differences within the city, creating each space as fragmented zones An exploration of naturalism, particularly that used by novelist Émile Zola, pro- that reflect class differences and experiences (Aiello 13). vides a valuable framework through which to unpack The Wire’s systemic analysis. Beyond the visual markers of space that defne the boundaries of class, space in The primary aim of Zola’s naturalist literary works was to “conceive the individual as The Wire is also utilized to delimit the physical mobility and freedom of characters, a pawn on the chessboard of society” (Meyer 563). His body of work sought to trace the embodying a social immobility. Indeed, Thompson highlights the importance of space relationship between the individual and their environment, highlighting the environ- in The Wire as the central determinant of exclusion, safety, freedom, and entrapment ment as a force that shapes actions and character, fundamentally beyond the control of (88). The space one inhabits determines who is ‘trapped’ and who can ‘move freely’ the individual (Meyer 564). This literary trend emerged in the late nineteenth century, (Thompson 88). For example, in the finale episode of the fourth season “Final Grades,” in the time of industrialization, and focused primarily on the changing structure of detective McNulty picks up a street-level dealer, Bodie, and takes him for lunch. society. Naturalism was an attempt to grapple with the great societal changes and its Throughout the encounter McNulty moves freely from the police station, to the jail, effects on the urban working poor (Aiello 11). Emphasis was placed on ‘the city’, as it to a park for lunch, then home. Thomas Carcetti is another character that is afforded represented a zone of intersection of different classes and races, different narratives the freedom of mobility. In the fourth season episode “Corner Boys” he travels from and experiences, proving an ideal subject for analysis of the impact of state institu- his home in the suburbs, to the downtown core, to the inner city in West Baltimore tions (Kennedy and Shapiro 147). and back. In contrast, the fifth season episode “React Quotes” sees a conversation The Wire mirrors Zola’s logic of naturalism by placing Baltimore as the main char- between Dukie and Cutty exemplify the isolation of the inner city inhabitants. Cutty acter of the series (Aiello 12). Its visual style constructs the space, defining the bound- says, “World is bigger than that, at least that’s what they tell me” and Dukie responds, aries of rich and poor and creating a sharp aesthetic distinction between spaces of pov- “Like… how do you get from here to the rest of the world?” The young boys of West Bal- erty and violence, and spaces of freedom and wealth. As Frederick Jameson notes, the timore live in isolation with little knowledge of the outside world, a testament to their depiction of Baltimore constructs a space wherein seemingly nothing exists outside of entrapment within the boundaries of their socio-economic status (Thompson 111). it (Thompson 87). In doing so, the spatial construction fragments the city into delim- Spatial confinement in The Wire can also be understood through Mike Davis’ dis- ited zones of privilege and poverty. Jameson observes that two worlds are constructed cussion of policing in urban spaces. As previously noted, the stark difference in visual and created, isolated from each other and rarely interacting (qtd in Thompson 87). representations of space fragments the city and delimits the boundaries of race and Visual markers include dark, grey, dirty, and cramped spaces in the inner city or the class. Davis highlights the way boundaries are enforced, transforming American urban jails, compared to the open, green spaces of the suburbs. Architectural markers also spaces into “fortress cities” (Davis 155). He argues that zones of affluence and poverty define zones of neglect from zones of privilege; worn down buildings, dark alleyways are constantly surveilled, serving the interests of the middle class at the expense of and makeshift playgrounds surround the young boys selling drugs in West Baltimore, the urban poor (Davis 155). The ‘militarization’ of the city creates individual spaces while city spaces with government offices are comprised of tall majestic buildings. meant to contain the urban poor through police surveillance and architectural design As Thompson notes, the inner-city neighbourhoods are visibly decaying, standing in (Davis 155). Throughout its five seasons, The Wire depicts this militarization, by using 26 CAMÉRA STYLO ALEXANDRA MCCALLA 27 motifs of surveillance in all spaces, from the police station, to the low-rise housing depicted as another space of confinement. Through the parallel narrative structure projects, to political offices (Aiello 45). In doing so the series suggests that characters and the montage sequences, institutions are shown as operating for the purpose of have little space for maneuver, and heightens the risk attached to venturing beyond maintaining the status quo. Susan Bandes notes that The Wire depicts a truth about one’s spatial boundaries. The space thus becomes not one of freedom, but rather one of institutions, that they function primarily to “perpetuate and protect themselves” (4). entrapment. This idea of surveillance as confinement is most pronounced in the inner The series suggests there is little room for maneuver within institutions, and that, city where police are constantly roaming, monitoring and documenting the movement because it is in the interest of those in power to maintain the status quo, attempts of the inhabitants. The boys in the inner city are thus never free from the gaze of the at change will be actively suppressed (Bandes 5). The parallel structure of the series police, nor from the eyes of rival drug gangs. Indeed, in “Final Grades,” when McNulty allows for connections to be made on both sides of the law, Officer Bunny Colvin is picks up Bodie, the audience is aware members of Marlo Stanfield’s crew are watching. demoted for his attempt to legalize drugs in “Hamsterdam” in the third season, while Ultimately, being caught by Marlo’s crew results in Bodie’s death, strengthening the Michael Lee’s questioning of Marlo Stanfield’s tactics in the season five episode “Late notion of entrapment. Editions” almost ends with his death (Bandes 5). The series emphasizes institutional While The Wire’s articulation of space highlight differences within the city, paral- failure despite individual attempts at improvement, thus highlighting the force of the lel narratives and montage sequences highlight similarities and connections between system beyond the control of the individual.
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