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Framing the Penal Colony: Representing, Interpreting and Imagining Convict Transportation Sophie Fuggle full chapter instant download
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PALGRAVE STUDIES IN CRIME, MEDIA AND CULTURE
Framing the
Penal Colony
Representing, Interpreting and
Imagining Convict Transportation
Edited by Sophie Fuggle
Charles Forsdick · Katharina Massing
Palgrave Studies in Crime, Media and Culture
Series Editors
Michelle Brown, Department of Sociology, University of
Tennessee, Knoxville, TN, USA
Eamonn Carrabine, Department of Sociology, University
of Essex, Colchester, UK
This series aims to publish high quality interdisciplinary scholarship for
research into crime, media and culture. As images of crime, harm and
punishment proliferate across new and old media there is a growing
recognition that criminology needs to rethink its relations with the ascen-
dant power of spectacle. This international book series aims to break
down the often rigid and increasingly hardened boundaries of main-
stream criminology, media and communication studies, and cultural
studies. In a late modern world where reality TV takes viewers into
cop cars and carceral spaces, game shows routinely feature shame and
suffering, teenagers post ‘happy slapping’ videos on YouTube, both cyber
bullying and ‘justice for’ campaigns are mainstays of social media, and
insurrectionist groups compile footage of suicide bomb attacks for circu-
lation on the Internet, it is clear that images of crime and control play a
powerful role in shaping social practices. It is vital then that we become
versed in the diverse ways that crime and punishment are represented
in an era of global interconnectedness, not least since the very reach of
global media networks is now unparalleled.
Palgrave Studies in Crime, Media and Culture emerges from a call to
rethink the manner in which images are reshaping the world and crimi-
nology as a project. The mobility, malleability, banality, speed, and scale
of images and their distribution demand that we engage both old and
new theories and methods and pursue a refinement of concepts and
tools, as well as innovative new ones, to tackle questions of crime, harm,
culture, and control. Keywords like image, iconography, information
flows, the counter-visual, and ‘social’ media, as well as the continuing
relevance of the markers, signs, and inscriptions of gender, race, sexuality,
and class in cultural contests mark the contours of the crime, media and
culture nexus.
Sophie Fuggle · Charles Forsdick ·
Katharina Massing
Editors
Katharina Massing
Nottingham Trent University
Nottingham, UK
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature
Switzerland AG 2023
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher,
whether the whole or part of the material is concerned, specifically the rights of translation,
reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other
physical way, and transmission or information storage and retrieval, electronic adaptation, computer
software, or by similar or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are exempt
from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors, and the editors are safe to assume that the advice and information in
this book are believed to be true and accurate at the date of publication. Neither the publisher
nor the authors or the editors give a warranty, expressed or implied, with respect to the material
contained herein or for any errors or omissions that may have been made. The publisher remains
neutral with regard to jurisdictional claims in published maps and institutional affiliations.
Cover illustration: Kuto Bay, Ile des Pins, New Caledonia (2018). Photo with permission from Claire
Reddleman.
This Palgrave Macmillan imprint is published by the registered company Springer Nature Switzerland
AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Acknowledgements
Many of the chapters upon which this collection is based first started
out as conference papers at the Framing the Penal Colony conference
held at the National Justice Museum in Nottingham, UK, in November
2019. The conference was generously supported by the AHRC as part
of the “Postcards from the bagne” project led by Sophie Fuggle (Ref.
AH/R002452/1).
v
Contents
1 Introduction 1
Sophie Fuggle, Charles Forsdick, and Katharina Massing
vii
viii Contents
Index 319
Notes on Contributors
xi
xii Notes on Contributors
xvii
xviii List of Figures
Fig. 10.1 The French Tiger Cages upper walkway, Con Dao.
Photo by the author 227
Fig. 10.2 The American Tiger Cages inner corridor, Con Dao.
Photo by the author 229
Fig. 10.3 Looking down on the bamboo Tiger Cages, Phu Quoc.
Photo by the author 230
Fig. 11.1 The film clapper frames Manuela’s challenging gaze.
Sara Gómez, 1968a. On the Other Island. Havana:
ICAIC 254
Fig. 11.2 Cuban stamp featuring the watchful eye imagery
of the Committee for the Defence of the Revolution.
“X Aniversario de los CDR.” Original photograph
by Karen Horton: https://www.flickr.com/photos/kar
enhorton/4463837284. Licensed under CC BY-ND
2.0: https://creativecommons.org/licenses/by-nc/2.0/leg
alcode 255
Fig. 11.3 Sara Gómez prompts Rafael to reveal his experience
of racism. Sara Gómez, 1968a. On the Other Island.
Havana: ICAIC 259
Fig. 11.4 Working side-by-side, young Black and White Cubans
eradicate weeds. Sara Gómez, 1968a. On the Other
Island. Havana: ICAIC 260
Fig. 11.5 The ‘exemplary’ White internee César encourages
Afro-Cuban Miguel to become ‘just like’ him. Sara
Gómez, 1968b. An Island for Miguel. Havana: ICAIC 263
Fig. 11.6 Raúl Martínez’s cover illustration for Cuba magazine,
‘The Youngest Island in the World,’ May 1968 265
Fig. 12.1 McMillan, K (2010) Islands of Incarceration, Cockatoo
Island, Biennale of Sydney digital print on polysynthetic
fabric, sound produced in collaboration with Cat Hope 283
Fig. 12.2 Karina Utomo performing in Cat Hope’s ‘Speechless’.
Image by Toni Wilkinson 286
Fig. 13.1 Drawing of a cell by Mohamed from Morocco
in Dover, 2015. Immigration Detention Archive Oxford 304
Fig. 13.2 Courtyard in Colnbrook IRC, Heathrow, outside
the exercise area, taken by Khadija von Zinnenburg
Carroll during a photography workshop inside, 2015 305
List of Figures xix
In April 2022, then UK Prime Minister Boris Johnson and Home Secre-
tary Priti Patel announced that a deal had been made with Rwanda
which would now see asylum seekers sent to the African nation (5,500
miles or 8,800 km away) for processing (The Guardian, 2022). The new
arrangement was announced after long-term speculation around extrater-
ritorial management of refugees arriving in the UK including those
taking the perilous journey from Calais by dinghy. Previous suggestions
had included the proposal of sending asylum seekers to Ascension Island
in the South Atlantic over 4,400 miles (or 7,000 km) from the UK and
S. Fuggle (B)
Nottingham Trent University, Nottingham, UK
e-mail: sophie.fuggle@ntu.ac.uk
K. Massing
Nottingham Trent University, Nottingham, UK
e-mail: katharina.massing@ntu.ac.uk
C. Forsdick
University of Liverpool, Liverpool, UK
e-mail: craf@liverpool.ac.uk
© The Author(s), under exclusive license to Springer Nature 1
Switzerland AG 2023
S. Fuggle et al. (eds.), Framing the Penal Colony, Palgrave Studies in Crime, Media
and Culture, https://doi.org/10.1007/978-3-031-19396-5_1
2 S. Fuggle et al.
1,000 miles from the coast of Africa (Walker & Murray, 2020). So far the
proposed deportations have attracted widespread criticism against a back-
drop of the erosion of human rights in the UK following the withdrawal
from the European Union in January 2020. Earlier proposals seemed
ludicrous and, if anything, simply an attempt, in the aftermath of Brexit,
to remind British society of its claims to sovereignty via reference to
remaining overseas territories such as Ascension Island (part of the Saint
Helena, Ascension and Tristan da Cunha territory; on the post-imperial
contexts of Brexit, see Dorling & Tomlinson, 2019). Such assertions to
sovereignty hark back to the use of distant islands as sites of exile for
political deportees. Indeed, after his second defeat against the British at
Waterloo in 1815, Napoleon Bonaparte was sent to live out his days
on Saint Helena (Unwin, 2010). The choice of location was intended
to ensure he did not escape as he had done from his earlier exile to
the Island of Elba in the Mediterranean. Evoking Ascension Island as
a possible site (despite the high costs and impracticalities of such a loca-
tion) for those who have recently crossed both the Mediterranean and
the English Channel must be understood as a symbolic gesture intended
to evoke past Franco-British histories and to affirm both Britain’s inde-
pendence from Europe and the country’s ability to exile anyone perceived
as threatening its borders.
However, this flex has now been revealed to have been a distrac-
tion tactic whilst other non-UK sites for immigrant detention have
been sought. The UK is not unique here. Denmark has also report-
edly been in talks with Rwanda over a similar initiative (see Neilson,
Chapter 2). The model of establishing such partnerships is frequently
referred to as the ‘Pacific Model’ with reference to Australia’s use of
Nauru, Manus and Christmas Island to process asylum seekers. The
human rights violations—which have seen children also detained and
a high number of suicides—have elicited international criticism. Despite
successful legal challenges, the centres have remained open alongside
a complex network of sites located across Australia itself. As Alison
Mountz (2020) has argued, the increased use by countries in the Global
North of what she terms the ‘enforcement archipelago’ since the 1970s
is bringing about ‘the death of asylum’. Such a ‘death’ is both metaphor-
ical (as society comes to accept that such practices are legitimate and
1 Introduction 3
necessary) and literal (since the result of such practices is what Ruth
Wilson Gilmore refers to as the ‘premature death’ of those being held,
whether this be during detention or subsequently as a result of physical
and mental hardships experienced). Indeed, as Wilson Gilmore points
out, ‘premature death’ is the endpoint of racism: “Racism, specifically, is
the state-sanctioned or extralegal production and exploitation of group-
differentiated vulnerability to premature death” (Wilson Gilmore, 2007,
p. 28).
Alongside the wider practice of offshore detention as part of broader
border control measures, it is also important to note the extraordinary
rendition used, notably, by the United States during the ‘War on Terror’
declared by the Bush administration following the 9/11 attacks on the
World Trade Center and Pentagon. The extralegal practices of torture
used as part of such practices also bring into relief the deployment of
extraterritorial spaces such as Guantánamo, together with ‘black sites’
or temporary sites, not marked on any map or flight manifesto. This
capacity to block, erase and ‘disappear’ different ‘bodies’ deemed danger-
ously ‘other’ occurs as a result of the ability to impose and suspend
laws and borders that operate as perpetually shifting lines and frames.
Such lines are made visible in Mohamedou Ould Slahi’s memoir Guan-
tánamo Diary published in 2015 and based on his experience of being
held without trial for fourteen years. The original version of the memoir
features pages and pages of text redacted by the U.S. government,
including extensive passages recounting the use of torture and other
forms of abuse.1 The thick black lines, which are frustrating for readers,
embody the way information is controlled and denied to certain parties
even when it directly concerns or affects them. It also emphasises how
the narrative of what happens in places like Guantánamo continues to
exclude or limit the voices of those transported there.
The current use of overseas territories for asylum processing, immi-
grant detention and extraordinary rendition should thus be situated
within longer, global practices of deportation and transportation as
central strategies within colonial expansion from the mid-eighteenth
century onwards. Ann Laura Stoler (2012) has pointed out, “There are
no straight historical lines that lead from les colonies agricoles to Guan-
tanamo”. However, it is our contention in this volume that the complex
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– A bizalom a saját tulajdonom.
Pető meghajtotta fejét.
– Az természetesen magától értetődik.
Egy ideig csend volt, az omnibusz recsegve-nyikorogva döcögött
az utcán. Utóbb ismét a diák vette fel a szót.
– Ön azt mondotta, hogy az ördögből vén korára remete lesz és
megforditva.
– Én csak a lehetőségét állitottam fel e tételnek.
– Nos, ha ez a tétel helyes volna, vagy a helyességnek csak a
látszata lengne rajta, ugy a legmintaszerübb emberek egyikének
Bulcsu mester igérkezne.
– A fagottista?
– Igen, az a kellemetlen szomszéd, aki egész nap egyebet se
tesz, mint hogy azt nyikorgatja okarináján: „Mig ifju voltam, sok…“
De hiszen ön is betéve ismeri e nótát. Nos, ez az ur volna rá hivatva,
hogy a legderekabb férjet adja, mert ő a világ legnagyobb korhelye.
– És ön ezt kizártnak tartja?
– Körülbelül. Sőt: egyenesen.
– És miért?
– Mert ez a Bulcsu mester született korhely, aki egész életében
cigány volt és mindig az is marad. Nem lesz, nem volt soha egy
krajcárja, ami részben szerencse, mivel ha pénze volna, véglegesen
az italnak szentelné ifjuságát, férfikorát és agg napjait.
Tilda egy ideig hallgatott, aztán igy szólt:
– Azt hittem, hogy Bulcsu önnek a barátja? Mindig együtt szoktak
járni.
– Az nem zárja ki, hogy a Neró szerzője ne lehessen csélcsap
ifju.
– Mi az a Neró?
– A Bulcsu leendő operája. A nyitány első üteme már meg is van.
Az üstök szólnak s ugyanakkor a hegedük pizzicató játszanak.
Pokoli ötlet. Kár, hogy a leendő mester még nem érkezett el a
második ütemig s igy nem részletezhetem tovább dalművét.
– Nem szép, ha az ember barátairól kedvezőtlen véleményeket
terjeszt, – jegyezte meg a kisasszony.
– Amit róla közöltem, csak az igazság megállapitása volt.
– Talán mások nem igy gondolkodnak róla.
A diák kacagott.
– Oh, persze! Kérdezze csak meg a szabóját, a mosónőjét vagy
a suszterjét. Azok Bulcsut a világ legrettenetesebb emberének
tartják.
A leány elgondolkodott, majd valami eszébe jutott.
– Mennyire nincs igaza, – mondta diadalmasan. – Emlékszem,
egyizben Lámpl ur emlitette előttem, hogy Bulcsu ur szépen
hegedül.
– Lámpl urnak bizonyára kitünő zenei érzéke van, – bólintott
gunyosan Pető.
– És egyébként, a gyalázatos okarináját kivéve, a zenészre más
panasz még nem volt a házban.
– Nos? És az okarina nem elég? Egy fiatalember, aki pénzért
bosszantja a háziurat? Nemes dolog ez?
– Bizonyára azért teszi, hogy kenyérre valója legyen. Ha önt nem
látnák el a szülei, örülne, ha legalább ezen a módon szerezhetné
meg a mindennapit.
– No, ez nem egészen igy van, – jegyezte meg Pető,
sértődöttséget szinlelve.
De Tilda nem törődött a mű-érzékenységgel és tovább folytatta.
Már benne volt az ellentmondásban!
– Ha valaki az életben küzd és emellett eszményeket hord a
szivében, az tiszteletet érdemel. Bulcsu egész nap okarinázik, éjjel
pedig arról álmodozik, hogy egykor jeles férfiu lészen, aki csak a
művészetnek fogja magát szentelni. És, ha nem lenne a röghöz
kötve, szegény fiu talán már megirta volna művét. Igazán sajnálom,
hogy eddig oly rossz véleménnyel voltam róla, de azt hittem, hogy
nem ér egy hajitófát sem. Okarinázni rendesen a cirkuszi bohócok
szoktak; arról sejtelmem se volt, hogy Bulcsu az akadémiára jár.
Pető – ha szabad ezt a tulmerész kifejezést leirnom – a lelki
kezeit dörzsölgette. Hisz ez a siker első lépése volt. A győzelem első
sugara! Tildában felébredt az érdeklődés Bulcsu iránt, aki mellett
eddig szótlanul, hideg közömbösséggel haladt el!
A kocsi a terézvárosi templomhoz érkezett. Le kellett szállaniok.
– A viszontlátásra, – nyujtotta kezét Tilda. – És ne nézze le a
szegény embereket, meg a munkát.
Pető meghajolt és szerényen mosolygott, körülbelül ugy, mint a
fiatal Napoleon Toulon bevételénél.
XV.