A groundbreaking contribution to the study of nontheatrical film exhibition, Carceral Fantasies tells the little-known story of how cinema found a home in the U.S. penitentiary system and how the prison emerged as a setting and narrative trope in modern cinema. Focusing on films shown in prisons before 1935, Alison Griffiths explores the unique experience of viewing cinema while incarcerated and the complex cultural roots of cinematic renderings of prison life. Griffiths considers a diverse mix of cinematic genres, from early actualities and reenactments of notorious executions to reformist exposés of the 1920s. She connects an early fascination with cinematic images of punishment and execution, especially electrocutions, to the attractions of the nineteenth-century carnival electrical wonder show and Phantasmagoria (a ghost show using magic lantern projections and special effects). Griffiths draws upon convict writing, prison annual reports, and the popular press obsession with prison-house cinema to document the integration of film into existing reformist and educational activities and film's psychic extension of flights of fancy undertaken by inmates in their cells. Combining penal history with visual and film studies and theories surrounding media's sensual effects, Carceral Fantasies illuminates how filmic representations of the penal system enacted ideas about modernity, gender, the body, and the public, shaping both the social experience of cinema and the public's understanding of the modern prison.

Folsom Prison is California's second-oldest prison, dating back to 1880. In the decades following the Gold Rush, it housed some of the state's most notorious prisoners in stone, dungeon-like cells behind solid-metal doors; was the first prison with electric power; and for many years provided labor for various state projects, including construction, fabrication, and printing of license plates. Thrust into the public consciousness in the 1960s by high-profile performances from country music's Johnny Cash, the prison remains a notorious and legendary institution. The variety of offenders housed at Folsom are incarcerated for a large gamut of criminal behavior, and the California Department of Corrections has been dedicated to rehabilitation efforts throughout the facility's long history.

Pile out, you tramps. It's the end of the line, begins Caged, a remarkable on-screen study of women behind bars released by Warner Bros. in 1950.The well-defined conventions of this picture and almost 300 others in the prison film genre are examined. Four subgenres emerge: sociological studies (e.g., I Am a Fugitive from a Chain Gang, 1932), raucous comedies (Stir Crazy, 1980), black action pictures (Riot, 1968) and exploitation entries (Chained Heat, 1983).Comprehensive cast/character and technical listings and an essay blending synopsis, contemporary review quotes, production details with costs and analysis are given for each feature. Fully indexed.

Behind These Prison Walls "Life Inside Rikers Island" gives a photographic journey into the nation's most violent adolescent jail on Rikers Island. Former New York City Corrections officer and visual artist gives viewers a first-hand account into the horrors and dangers officers and detainees were subjected to daily. Former New York City Corrections officer and visual artist Lorenzo Steele Jr. uses art as a medium to change habits and behaviors that can lead to criminal activity. Lorenzo served 12 years as an officer on Rikers Island (1987-1999) and his mission through the arts is to deter youth from making choices and decisions that can have a devastating effect on their lives. It's an educational book that's grade appropriate and can be used in public-schools, churches, colleges and art galleries.

This book turns on the television, opens the newspaper, goes to the cinema and assesses how punishment is performed in media culture, investigating the regimes of penal representation and how they may contribute to a populist and punitive criminological imagination. It places media discourse in prisons firmly within the arena of penal policy and public opinion, suggesting that while Bad Girls, The Shawshank Redemption, internet jail cams, advertising and debates about televising executions continue to ebb and flow in contemporary culture, the persistence of this spectacle of punishment - its contested meaning and its politics of representation - demands investigation. Alongside chapters addressing the construction of popular images of prison and the death penalty in television and film, Captured by the Media also has contributions from prison reform groups and prison practitioners which discuss forms of media intervention in penal debate. This book provides a highly readable exploration of media discourse on prisons and punishment, and its relationship to public attitudes and government penal policy. At the same time it engages with the 'cultural turn' within criminology and offers an original contribution to discussion of the relationship between prison, public and the state. It will be essential reading for students in both media studies and criminology as well as practitioners and commentators in these fields.

Thirteen of Hollywood's horror classics in detail: Dr. Jekyll and Mr. Hyde (1931), The Old Dark House(1932), The Mask of Fu Manchu (1932), Mark of the Vampire (1935), Mad Love (1935), The Black Room (1935), The Walking Dead (1936), Cat People (1942), Bluebeard (1944), The Lodger (1944), The Picture of Dorian Gray (1945), Hangover Square (1945) and Bedlam (1946). From original interviews and research, the styles of the various studios (from giant M-G-M to Poverty Row's PRC), along with the performers, directors, and backstage events, are examined.

In this one-of-a-kind Hollywood history, the creator of Instagram's celebrated @ThisWasHollywood reveals the forgotten past of the film world in a dazzling visual package modeled on the classic fan magazines of yesteryear. From former screen legends who have faded into obscurity to new revelations about the biggest movie stars, Valderrama unearths the most fascinating little-known tales from the birth of Hollywood through its Golden Age. The shocking fate of the world's first movie star. Clark Gable's secret love child. The film that nearly ended Paul Newman's career. A former child star who, at ninety-three, reveals her #metoo story for the first time. Valderrama unfolds these stories, and many more, in a volume that is by turns riveting, maddening, hilarious, and shocking. Drawing on new interviews, archival research, and an exhaustive library of photographs, This Was Hollywood is a compelling and visually stunning catalogue of the lost history of the movies.

This book offers an interdisciplinary analysis of how contemporary American prison narratives reflect and produce ideologies of masculinity in the United States, and in so doing, compellingly engages popular culture in order to demonstrate the profound ways in which implicit understandings of prison life shape all Americans, and their reactions to people both incarcerated and not.

Prisons have undoubtedly changed over the years, as have penal practices in general, though more so in some countries than others. Prisons and prison systems have long been an overlooked part of criminal justice research, and as a result, limited material is available on many institutions. This comprehensive encyclopedia provides a historical overview of institutions and systems around the world, as well as penal theories, prisoner culture and life, and notable prisoners and personnel. Readers will find a plethora of information including material on such famous prisons as the Tower of London and Alcatraz, as well as on such topics as boot camps and parole. Other entries include Devil's Island, supermaximum prisons, Nelson Mandela, Pennsylvania system, and Amnesty International. Numerous appendixes list famous prisoners, prison museums, prison slang, and more.

""The Big House" is America's idea of the prison - a huge, tough, ostentatiously oppressive pile of rock, bristling with rules and punishments, overwhelming in size and the intent to intimidate. Stephen Cox tells the story of the American prison - its politics, its sex, its violence, its inability to control itself - and its idealization in American popular culture. This book investigates both the popular images of prison and the realities behind them : problems of control and discipline, mainenance and reform, power and sexuality. It conveys an awareness of the limits of human and institutional power, and of the symbolic and iconic qualities the "Big House" has attained in America's understanding of itself"--Jacket.