The Wire as Social Science-fiction?

Penfold-Mounce, Ruth; Beer, David; Burrows, Roger

doi:10.1177/0038038510387199

Cited by 64 publications

(27 citation statements)

References 13 publications

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“…Simon comments, 'I saw this once, I saw this twothousand times. 45 Precisely because of this, this HBO programme outperforms any other attempt to date to depict the American inner city and the institutions that work against the welfare of the urban poor. 43 As Latour writes, '[t]o endow an agency with anonymity gives exactly as much a figure as when it is endowed with a name, a nose, a voice, or a face.…”

Section: Drawing a Story Line By Linementioning

confidence: 99%

The Wire as speculative research

Leclair-Paquet¹

2014

Arq

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Defined as such, these lines correspond to what Bruno Latour refers to as 'social'. In Latour's actornetwork-theory, the term 'sociology' refers to the 'tracing of associations'; it refers to the architecture of collectives. theory arq . vol 18 . no 2 . 2014 135 theory The creative methods behind HBO's The Wire evoke original ways to experiment with speculative work that reveal the merit of the imaginary as a pragmatic research device.

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Section: Drawing a Story Line By Linementioning

confidence: 99%

The Wire as speculative research

Leclair-Paquet¹

2014

Arq

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“…De plus, cette transposition prend la forme d'un lyrisme sociologique. Ainsi, les sentiments associés à une situation peuvent pénétrer le coeur et l'imaginaire d'un public (Penfold-Mounce, Beer et Burrows, 2011).…”

Section: Axe 12 La Fiction : Unitéunclassified

“…Conséquemment, ces effets de sensibilisation et d'humanisation peuvent servir de tremplin à une transformation sociale. Ce potentiel est d'autant plus grand que les téléséries peuvent interpeller un public cible hors du milieu universitaire (Penfold-Mounce, Beer et Burrows, 2011). Ainsi, Unité 9 peut être un prélude à des pétitions et à des commissions d'enquête qui appelleront à réviser les procédures et les conditions carcérales pour mieux répondre aux besoins des femmes.…”

Section: Axe 12 La Fiction : Unitéunclassified

Les femmes détenues d’Unité 9 : entre espace fictionnel et réalité

Cousineau

Frigon

2016

crimino

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Dans cet article, nous nous penchons sur Unité 9, une télésérie québécoise portant sur l’univers carcéral au féminin, pour dresser un parallèle entre celle-ci et l’incarcération des femmes de ressort fédéral. Dans un premier temps, nous exposons un bref historique de l’enfermement au féminin et nous soulignons quelques particularités inhérentes à cette population carcérale. Nous présentons ensuite le synopsis de la série et nous brossons un portrait qui souligne la pertinence, les avantages ainsi que les lacunes des analyses télévisuelles. Dans un deuxième temps, nous théorisons l’espace carcéral, les dynamiques qui y prennent place ainsi que la résistance entreprise par les femmes (Bosworth, 1999 ; Butler, 1988, 2006a, 2006b ; DeGraff et Kilty, 2016 ; Frigon, 2000, 2012 ; Joël-Lauf, 2009 ; Lavigne, 1999 ; Smoyer, 2016). Dans un troisième temps, nous dressons des liens entre fiction et réalité en explorant quatre espaces : le secteur des admissions, le secteur de l’isolement, les unités résidentielles et les unités mère-enfant. Nous y relevons diverses nuances de résistance, d’aliénation ou de soumission. Ainsi, cet article met en lumière le rapport entre l’espace carcéral et les femmes incarcérées : non seulement celles de ressort fédéral, mais aussi celles d’Unité 9.In this article Unité 9, a French Canadian television show about women in prison, is analyzed as a way to explore some aspects of women’s experience in federal prisons in Canada. After giving a brief history of female incarceration and describing some general characteristics of this prison population, we provide a synopsis of Unité 9 episodes and discuss the relevance, benefits, and limitations of using a television program to help understand actual situations. We then discuss our theoretical understanding of prisons, their dynamics, and the resistance engaged in by women prisoners (Smoyer, 2016 ; Lavigne, 1999 ; Frigon, 2000, 2012 ; Bosworth, 1999 ; DeGraff et Kilty, 2016 et Joël-Lauf, 2009). Last, we explore some parallels between fiction and reality by looking at four prison sectors : admissions, isolation units, residential areas, and mother-child spaces, revealing different forms of submission, alienation, and resistance. This article sheds light on the inter-play between prison space and female prisoners – both those sentenced federally and those on Unité 9.En el presente artículo, presentamos Unidad 9, una serie de TV quebequense que trata sobre el universo carcelario en femenino, con el fin de trazar paralelismos con la encarcelación de mujeres en la jurisdicción federal. En premier lugar, exponemos una breve historia de la reclusión femenina y subrayamos algunas particularidades de dicha población penitenciaria. Seguidamente, presentamos la sinopsis de la serie y esbozamos un análisis que subraya ...

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“…The switch in focus here is away from understanding these as cultural products for consumption, and towards approaching them as artefacts that perform a similar role to urban and regional research — or, at least, as ethnographic data that might be used to inform our urban research. Instead of writing about hip‐hop this would be to draw upon it as a resource, as an ethnographic account of these cities that can be understood as a deployment of an ‘emotional’ form of a ‘sociological’ imagination (Abbott, 2007; Penfold‐Mounce et al ., 2011). Using hip‐hop in this way will ‘enact’ (Law, 2004) the urban landscape in other ways; it will allow it to be seen from alternative perspectives and show it from the inside out.…”

Section: Concluding Thoughtsmentioning

confidence: 99%

Hip‐Hop as Urban and Regional Research: Encountering an Insider's Ethnography of City Life

Beer

2012

Int J Urban Regional Res

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This essay suggests that hip‐hop music may reasonably be thought of as a form of urban and regional research. The essay draws upon a recently published book by hip‐hop artist Jay‐Z, which provides biographical information alongside translations of the lyrical content of his works, to show that hip‐hop is full of insider ethnographic insights into urban life. This, it is argued, can be thought of as an answer to Daryl Martin's call for a more ‘poetic urbanism’, an urbanism that captures the material, sensory and emotional aspects of the city. The essay uses Jay‐Z's text to illustrate the type of insights and ideas that we might obtain from hip‐hop, giving some specific examples of these insights and concluding with some reflections upon this alternative insider account of city life — and how it might provide us with opportunities for expanding our repertoire.

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The Wire as Social Science-fiction?

Cited by 64 publications

References 13 publications

The Wire as speculative research

The Wire as speculative research

Les femmes détenues d’Unité 9 : entre espace fictionnel et réalité

Hip‐Hop as Urban and Regional Research: Encountering an Insider's Ethnography of City Life

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