Edited by Michael Fiddler.

“Contemporary representations of imprisonment, be they cinematic or literary, tend to be remarkably consistent. There are a series of recurrent characters and tropes that one can reliably expect to see. To give a decidedly partial list, there is the naïf, the kindly old-timer, the threat of (often sexual) violence or the dank darkness of ‘the hole’. A useful exercise in this regard is to look at the ways in which a remake of a particular prison film reuses these visual themes. The 1974 film The Longest Yard (dir. R. Aldrich) starring Burt Reynolds as a disgraced and subsequently imprisoned American football player was remade in 2001 (dir. B.Skolnick) and 2005 (dir. P.Segal) as vehicles for Vinnie Jones and Adam Sandler respectively. The UK version, renamed Mean Machine to match the original UK release title of the 1974 film, owes much to key British television and film where prisons and imprisonment play key roles.”

Prison Service Journal. Issue 199. January 2012. 64p.

By Magnus Hörnqvist.

Based on a reading of contemporary philosophical arguments, this book accounts for how punishment has provided audiences with pleasure in different historical contexts. Watching tragedies, contemplating hell, attending executions, or imagining prisons have generated pleasure, according to contemporary observers, in ancient Greece, in medieval Catholic Europe, in the early-modern absolutist states, and in the post-1968 Western world.

Routledge (2021) 181p.

By Peter Caster.

A prison official in 1888 declared that it was the freeing of slaves that actually created prisons: “we had to establish means for their control. Hence came the penitentiary.” Such rampant racism contributed to the criminalization of black masculinity in the cultural imagination, shaping not only the identity of prisoners (collectively and individually) but also America’s national character. Caster analyzes the representations of imprisonment in books, films, and performances, alternating between history and fiction to describe how racism influenced imprisonment during the decline of lynching in the 1930s, the political radicalism in the late 1960s, and the unprecedented prison expansion through the 1980s and 1990s. Offering new interpretations of familiar works by William Faulkner, Eldridge Cleaver, and Norman Mailer, Caster also engages recent films such as American History X, The Hurricane, and The Farm: Life Inside Angola Prison alongside prison history chronicled in the transcripts of the American Correctional Association. This book offers a compelling account of how imprisonment has functioned as racial containment, a matter critical to U.S. history and literary study.

Columbus, OH: Ohio State University Press, 2008. 279p.