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The Wire: a Comprehensive List of Resources
The Wire: A comprehensive list of resources Contents Introduction ............................................................................................................................ 2 W: Academic Work on The Wire........................................................................................... 3 G: General Academic Work ................................................................................................... 9 I: Wire Related Internet Sources .......................................................................................... 11 1 Introduction William Julius Wilson has argued that: "The Wire’s exploration of sociological themes is truly exceptional. Indeed I do not hesitate to say that it has done more to enhance our understandings of the challenges of urban life and urban inequality than any other media event or scholarly publication, including studies by social scientists…The Wire develops morally complex characters on each side of the law, and with its scrupulous exploration of the inner workings of various institutions, including drug-dealing gangs, the police, politicians, unions, public schools, and the print media, viewers become aware that individuals’ decisions and behaviour are often shaped by - and indeed limited by - social, political, and economic forces beyond their control". Professor William Julius Wilson, Harvard University Seminar about The Wire, 4th April 2008. We have been running courses which examine this claim by comparing and contrasting this fictional representation of urban America -
Narrative Epic and New Media: the Totalizing Spaces of Postmodernity in the Wire, Batman, and the Legend of Zelda
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-17-2015 12:00 AM Narrative Epic and New Media: The Totalizing Spaces of Postmodernity in The Wire, Batman, and The Legend of Zelda Luke Arnott The University of Western Ontario Supervisor Nick Dyer-Witheford The University of Western Ontario Graduate Program in Media Studies A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Luke Arnott 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Other Film and Media Studies Commons Recommended Citation Arnott, Luke, "Narrative Epic and New Media: The Totalizing Spaces of Postmodernity in The Wire, Batman, and The Legend of Zelda" (2015). Electronic Thesis and Dissertation Repository. 3000. https://ir.lib.uwo.ca/etd/3000 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. NARRATIVE EPIC AND NEW MEDIA: THE TOTALIZING SPACES OF POSTMODERNITY IN THE WIRE, BATMAN, AND THE LEGEND OF ZELDA (Thesis format: Monograph) by Luke Arnott Graduate Program in Media Studies A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Luke Arnott 2015 Abstract Narrative Epic and New Media investigates why epic narratives have a renewed significance in contemporary culture, showing that new media epics model the postmodern world in the same way that ancient epics once modelled theirs. -
Why Every Show Needs to Be More Like the Wire (“Not Just the Facts, Ma’Am”)
DIALOGUE WHY EVERY SHOW NEEDS TO BE MORE LIKE THE WIRE (“NOT JUST THE FACTS, MA’AM”) NEIL LANDAU University of California, Los Angeles (UCLA) The Wire (HBO, 2002-2008) upends the traditional po- ed the cop-drama universe. It was a pioneering season-long lice procedural by moving past basic plot points and “twists” procedural. Here are my top 10 reasons why Every Show in the case, diving deep into the lives of both the cops and Needs to Be More Like The Wire. the criminals they pursue. It comments on today’s America, employing characters who defy stereotype. In the words of — creator David Simon: 1. “THIS AMERICA, MAN” The grand theme here is nothing less than a nation- al existentialism: It is a police story set amid the As David Simon explains: dysfunction and indifference of an urban depart- ment—one that has failed to come to terms with In the first story arc, the episodes begin what the permanent nature of urban drug culture, one would seem to be the straightforward, albeit pro- in which thinking cops, and thinking street players, tracted, pursuit of a violent drug crew that controls must make their way independent of simple expla- a high-rise housing project. But within a brief span nations (Simon 2000: 2). of time, the officers who undertake the pursuit are forced to acknowledge truths about their de- Given the current political climate in the US and interna- partment, their role, the drug war and the city as tionally, it is timely to revisit the The Wire and how it expand- a whole. -
Network Aesthetics
Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor ___________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 ABSTRACT Network Aesthetics: American Fictions in the Culture of Interconnection by Patrick Jagoda Department of English Duke University Date:_______________________ Approved: ___________________________ Priscilla Wald, Supervisor __________________________ Katherine Hayles ___________________________ Timothy W. Lenoir ___________________________ Frederick C. Moten An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English in the Graduate School of Duke University 2010 Copyright by Patrick Jagoda 2010 Abstract Following World War II, the network emerged as both a major material structure and one of the most ubiquitous metaphors of the globalizing world. Over subsequent decades, scientists and social scientists increasingly applied the language of interconnection to such diverse collective forms as computer webs, terrorist networks, economic systems, and disease ecologies. The prehistory of network discourse can be -
The Wire: a Comprehensive List of Resources
The Wire: A comprehensive list of resources Contents Introduction ............................................................................................................................ 2 W: Academic Work on The Wire........................................................................................... 3 G: General Academic Work ................................................................................................... 9 I: Wire Related Internet Sources .......................................................................................... 11 1 Introduction William Julius Wilson has argued that: "The Wire’s exploration of sociological themes is truly exceptional. Indeed I do not hesitate to say that it has done more to enhance our understandings of the challenges of urban life and urban inequality than any other media event or scholarly publication, including studies by social scientists…The Wire develops morally complex characters on each side of the law, and with its scrupulous exploration of the inner workings of various institutions, including drug-dealing gangs, the police, politicians, unions, public schools, and the print media, viewers become aware that individuals’ decisions and behaviour are often shaped by - and indeed limited by - social, political, and economic forces beyond their control". Professor William Julius Wilson, Harvard University Seminar about The Wire, 4th April 2008. We have been running courses which examine this claim by comparing and contrasting this fictional representation of urban America -
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. -
And All the Pieces Matter: Thoughts on the Wire and the Criminal Justice System
And All the Pieces Matter: Thoughts on The Wire and the Criminal Justice System Susan A. Bandes* "Whatever it was, they don't teach it in law school."' I. INTRODUCTION The standard police procedural, even including great dramas like NYPD Blue and Hill Street Blues, adheres to time-honored narrative conventions. It focuses on good, if sometimes imperfect, cops trying to find the real bad guys-the perpetrators-and bring them to justice. The episode begins when a crime ruptures the social fabric, and ends when guilt is determined and things are put to right. The standard procedural is concerned mainly with individual fault and individual heroism. It does not raise disquieting questions about the criminal justice system, the legal system, or the social and political arrangements that lead to a permanent underclass. There are eight million stories in the Naked City,2 and in the police procedural, every one of them stands on its own. This standard cop show narrative reflects and reaffirms a deeply ingrained, reassuring view of the world. The Wire is a different kind of television. It aims not to reassure but to unsettle, or as David Simon once put it, "to pick[] a fight."3 On its surface a police procedural, The Wire has been aptly described as a portrayal of "the social, political, and economic life of an American city with the scope, observational precision, and moral vision of great literature." Unlike the standard police procedural, which presents and resolves a discrete problem every week, The * Distinguished Research Professor, DePaul University College of Law. -
Teaching HBO's the Wire July 2011
Teaching HBO’s The Wire July 2011 Teaching HBO’s The Wire Dr. Andrew Moore, St. Thomas University Author’s Contact Information Dr. Andrew Moore Assistant Professor Great Books Programme St. Thomas University, Fredericton, NB, E3B-5G3 Phone: (506) 292-5007 email: [email protected] Abstract: My intention in this paper is to address some of the challenges and advantages of incorporating television programming into a traditional liberal arts course, drawing upon my own experience teaching the third season of HBO’s crime drama The Wire. First appearing on HBO in 2002, The Wire’s incisive and expansive analysis of contemporary urban communities has increasingly made it a subject of scholarly interest. My argument here is that the series is culturally significant and potentially useful in a wide variety of courses on diverse subjects. However, there are problems with teaching television at the university level, such as limited class time, and students unaccustomed to critically engaging with the medium. I describe how my class addressed those challenges, and suggest ways other teachers might overcome them when teaching The Wire or any other television program. Also, citing student reactions to The Wire from our course blog, I outline the key lessons our class was able to derive from the series. Their comments suggest the wide array of pedagogical possibilities for HBO’s critically acclaimed crime drama, and for television more generally. Key Words: The Wire, crime drama, teaching television, student blog, justice, urban studies. Introduction There is no convenient way to use television programs in university classrooms. Our timetables are built around the notion that we are using print medium and or lecture. -
HBO's the Wire and Criminal Procedure: a Match Made in Heaven
114 HBO’s The Wire and Criminal Procedure: A Match Made in Heaven Brian R. Gallini Fans of The Wire know Bunk. Those fans who are legal minded may even remember, in the first scene of the first episode of Season 5,1 when Bunk masterfully interrogates a helpless suspect. I cannot imagine a better introduction to the Fifth Amendment materials in the Criminal Procedure course. But The Wire’s five seasons offer more than just helpful scenes. Rather, the show raises a diverse array of Fourth and Fifth Amendment issues that, I believe, can assist in teaching the Criminal Procedure course throughout the semester by keying all the course’s topics to The Wire. I proceed in this piece by offering (1) whyThe Wire makes for such a compelling pedagogical tool, (2) why a “one show” approach is superior to using sporadic clips from a variety of sources, and (3) then offering some concrete examples of how the clips are helpful on a class-by-class basis. Why The Wire? The Wire takes viewers into the inner-city streets of Baltimore for an in- depth look at the highly lucrative drug trade. Using a wide array of colorful characters, it treats viewers to a morally and legally complex world where police, prosecutors, defense attorneys, drug sellers and drug users all serve as compelling personalities living out the American drug war. Against that captivating backdrop is a more specific appeal to law professors—how all of The Wire’s characters interact with the Bill of Rights. Throughout its five seasons, the show provides an extraordinary number of discussion-worthy scenes that magnificently bring complex constitutional doctrines to life. -
Discovering Moral Imagination Along the Wire. (2014)
SOLÉR, MICHELLE LOWE, Ph.D. All the Pieces Matter: Discovering Moral Imagination Along The Wire. (2014). Directed by Dr. Svi Shapiro. 304 pp. This dissertation is an investigation into the tool of moral imagination in the service of social justice. Supported by the philosophies of David Purpel, Maxine Greene, and John Dewey, this analysis is engaged through six themes examined through the text of David Simon’s series, The Wire. These themes supply a foundation for how we might more thoroughly engage with moral imagination on a daily basis because there is a crisis in our culture around how we value the lives of all people. Themes presented in this discussion are: (1) The idea that everybody matters; (2) A changing notion of truth; (3) Thoughtlessness and banality; (4) Wide-awakeness and not taking things for granted; (5) Asking critical questions; and lastly, (6) People claiming responsibility. Applying these themes to specific textual examples excerpted from a dramatized television serial creates a space to discuss prophetic in- betweenness to interrogate and examine situations of systemic dysfunction and economic injustice outside of a fictional space. ALL THE PIECES MATTER: DISCOVERING MORAL IMAGINATION ALONG THE WIRE by Michelle Lowe Solér A Dissertation Submitted to the Faculty of The Graduate School at The University of North Carolina at Greensboro in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Greensboro 2014 Approved by ____________________________ Committee Chair 2014 Michelle Lowe Solér APPROVAL PAGE This dissertation written by Michelle Lowe Solér has been approved by the following committee of the Faculty of the Graduate School at The University of North Carolina at Greensboro. -
1 'It Can't Be a Lie': the Wire As Breaching Experiment Joshua
1 ‘It Can’t Be a Lie’: The Wire as Breaching Experiment Joshua Page & Joe Soss University of Minnesota The Politics of HBOs’ The Wire: Everything is Connected (2015), Eds. Shirin Deylami and Jonathan Havercroft. New York: Routledge, Ch.1, pp. 11-40. The five seasons of The Wire are widely recognized as a landmark event in the history of media efforts to portray life in America’s poor, racially segregated communities. The show was especially momentous for scholars, such as us, who study urban poverty and the various ways authorities work to manage its problems and populations. Here, finally, was a dramatic depiction of the world we knew through our research and tried to convey in our teaching and public engagement. Here, finally, was a nuanced, humane account of the lives and lived realities—of cops and drug dealers and teachers and addicts and students and parents and more—that intersect and shape one another in the most marginalized neighborhoods of our nation’s cities. Here, finally, was a wildly popular, critically acclaimed, nationally televised cry of dissent from the “thriving cultural industry of fear of the poor, led by such television programs as ‘America’s Most Wanted’ and ‘Cops.’”1 More even than most documentaries, The Wire offers a realistic depiction of life inside the “hyperghetto,” a social space defined by stark racial segregation, severely diminished jobs and social services, inadequate schools, rampant poverty, open-air drug markets, widespread housing foreclosures, and pervasive depression and dilapidation.2 From the show’s inception, 1 Loïc Wacquant, Punishing the Poor: The Neoliberal Government of Social Insecurity (Durham: Duke University Press, 2009) 131-32.