The Culture of Punishment: Prison, Society, and Spectacle. By Michelle Brown. New York: New York University Press, 2009. 249 pp. $24.00 paper. Michelle Brown's The Culture of Punishment is a systematic analysis of more visible ways public imagines what goes on behind our nation's prison walls. Nowhere else is reader able to encounter in one text a convincing thematic survey of spectacularized representation of prisonerFacross films and televisual programs; advertisements for historical prison tours, ghost hunts, and other adventure entertainment; official statements and print media representations of wartime prison-building and torture; and both specialized and popularized commentary on various late twentieth-century debates within criminology about effectiveness of punishment. And because of how this expansive archive is mappedFstarting with more popular and ending with more technicalFit is easy to envision how The Culture of Punishment might play important role in undergraduate education of connecting everyday of college student life to oftentimes separated, but nonetheless urgent, demands of social justice. According to Brown, culture of comprises four major visual media: mass media, commercial prison tourism, war discourse, and social scientific knowledge. Each medium contributes to generating what Brown calls the penal (pp. 8-12), respectively, through production of iconic images of prisoners, deadened buildings of history of punishment, extralegal proliferation of global prison, and overvaluation of expert knowledge about whether and how reduces crime. This penal spectator's gaze, distanced as it is from actual interaction with men and women living in prison, is unable to grasp reality of human suffering that prisons produce and, presumably because of this lapse, tacitly becomes part of larger disciplinary gaze of prison regime. And while Brown's mapping of gaze's passivity toward this disciplinary society charts quite a dismal picture, The Culture of Punishment argues that it is precisely through these various media that there is also possibility for penal spectator to engage more activelyFfrom consuming to witnessing (p. 204) other people's pain and exclusion. Thus, in her final chapter, Brown summarizes her overarching argument that cultural analysis has a role in transformation of passivity of penal spectatorship to an informed and engaged mode of citizenship, which requires a critical engagement with work of punishment (p. 191). A special indeed, but what exactly is this role, and its relationship to politics and social change? How precisely can one hope for analyses to shift penal spectator's gaze from consuming to witnessing, from voyeuristic pleasure to critical engagement, through what Brown generally calls cultural work of punishment (p. …
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