Lee Bernstein's America Is the Prison: Arts and Politics in Prison in the PDF

By Lee Bernstein

ISBN-10: 0807833878

ISBN-13: 9780807833872

Within the Nineteen Seventies, whereas politicians and activists open air prisons debated the right kind reaction to crime, incarcerated humans assisted in shaping these debates even though a large diversity of outstanding political and literary writings. Lee Bernstein explores the forces that sparked a dramatic ''prison artwork renaissance,'' laying off gentle on how incarcerated humans produced strong works of writing, functionality, and visible artwork. those incorporated every little thing from George Jackson's progressive Soledad Brother to Miguel Piñero's acclaimed off-Broadway play and Hollywood movie brief Eyes . a unprecedented diversity of legal programs--fine arts, theater, secondary schooling, and prisoner-run programs--allowed the voices of prisoners to persuade the Black Arts move, the Nuyorican writers, ''New Journalism,'' and political theater, one of the most vital aesthetic contributions of the last decade. by means of the Eighties and '90s, prisoners' academic and creative courses have been scaled again or eradicated because the ''war on crime'' escalated. yet through then those prisoners' phrases had crossed over the wall, supporting many americans to reconsider the which means of the partitions themselves and, eventually, the that means of the society that produced them. by way of the Nineteen Eighties and '90s, prisoners' academic and creative courses have been scaled again or eradicated because the ''war on crime'' escalated. yet by way of then those prisoners' phrases had crossed over the wall, assisting many american citizens to reconsider the that means of the partitions themselves and, eventually, the that means of the society that produced them.

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Extra info for America Is the Prison: Arts and Politics in Prison in the 1970s

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Although Nixon did not specify in words how he would do this, images of uniformed officers arresting young thugs made clear his intentions. In his use of the idea of a “decent citizen,” Nixon could draw on a homey phrase while invoking threatening images and foreboding statistics. The images and statistics supported Nixon’s belief that the normal coercive controls that govern the behavior of most people were not in place in some parts of the United States. He pledged to restore them. The third advertisement in this series provided the most dramatic invocation of the threat that crime posed to decent citizens.

The second suggested a link between political violence and street violence. ” Other parts of the campaign amplified these massages. During its early months, Nixon published an article in Reader’s Digest. ”25 Nixon tapped into a resonant issue. In his study of the political effects of urban unrest, James W. ’”26 Nixon’s ads reflected his attempt to translate this unease into votes. Voters under28╇ We S h all Have Or d e r stood that a vote for Nixon was a vote for a more repressive criminal justice system.

Today a violent crime is committed every sixty seconds. A robbery every two-and-a-half minutes. A mugging every six minutes. A murder every forty-three minutes. And it will get worse unless we take the offensive. Freedom from fear is a basic right of every American. ” This ad echoed one of Franklin D. Roosevelt’s two famous uses of “fear” as a rallying cry. ”23 Nixon did not invoke this use of fear. In fact, the ad provoked just the kind of fear Roosevelt warned against, leading viewers to conclude that it was just a matter of time before they would be robbed, mugged, or murdered.

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America Is the Prison: Arts and Politics in Prison in the 1970s by Lee Bernstein


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