Environmental Criminology

Spatial Analysis and Regional Issues

Liam Leonard

• Publisher: Emerald Publishing Limited
• Year: 2017
• Print ISBN: 9781787433786
• eBook ISBN: 9781787434585
• Topic: Social Sciences
• Subtopic: Anthropology
• Index: Social Sciences

Environmental Criminology: Spatial Analysis and Regional Issues combines various academic perspectives to provide a multi-disciplinary approach to examining environmental criminology. Using sociological, criminological, anthropological, historical and media analysis, this volume examines local and regional issues in crime. The interdisciplinary nature of the collection makes the book ideal for students or researchers who wish to expand their approach to environmental criminology.

A SPATIAL ANALYSIS OF CRIME: ‘THE WIRE’ AND DEPICTIONS OF URBAN CRIME

Shane Leonard

ABSTRACT

This chapter sets out to examine the topic of a spatial analysis of urban crime through an analysis of David Simon’s seminal television series The Wire. By developing an analysis of the issues that are presented in the series, issues such as race, ethnicity and representation will be addressed in order to add to the understanding of these topics in relation to race and media representations. Each section will address a set of themes which are evident in The Wire. The chapter highlights the idea of race in the series and how characters are presented on screen. The research is also concerned with economic issues depicted in the series and the effect of the economy on the characters in Baltimore, the U.S. city in which The Wire was set.

The conclusion of the chapter addresses poverty class and inequality as topics and sets out to document these themes in relation to race. The third chapter also discusses the racism and discrimination that is apparent in The Wire. By contextualising the series, the book is attempting to theorise relevant issues surrounding race, gender and power through an examination of relevant literature and the development of a theoretical framework from which key issues will be addressed.

Keywords: Spatial analysis; crime; media; ‘The Wire’; depictions of urban crime; Baltimore

INTRODUCTION AND THEORETICAL FRAMEWORK

This chapter examines issues of race and representation as depicted in the Home Box Office (HBO) television series The Wire. Set in Baltimore, Maryland, in the United States, The Wire sets out to examine how structures, hierarchies and bureaucracies operate in a contemporary urban setting. The racially diverse nature of Baltimore is successfully captured in The Wire which creates a number of fertile possibilities for academic discussion. The study will make use of academic texts, articles and a good knowledge of the series to provide a researched analysis of The Wire. The three chapters of the book will examine different fields of study and present a number of ideas discussing the content of the series. The chapter will focus on the theme of race and will outline how different ethnicities are represented in the series.

The chapter will attempt to engage with the economic aspects of The Wire and highlight how capitalism, globalisation and modernisation have a profound effect on the characters in the series. It will also discuss race but will be focused on how race affects issues such as class, poverty and inequality. While The Wire is obviously a more recent work, it is so sophisticated and realistic that it manages to provide a comprehensive understanding of Baltimore society which reveals a long-standing history of inequality and presents an anxious image of future issues which may unravel.

Kelly and Gay are utilised in order to help position the series in relation to the media and TV. Their articles on the meaning of representation of race help illustrate both the importance and the impact of different ethnicities in the series. Fraley’s ideas on identity also document the significance of the depictions of the characters in The Wire and also show how these portrayals can be understood with regard to wider developments. Sharma positions the series not only in relation to wider TV, but also in relation to how it resonates in the academic community. Franklin and McNeil describe how the development of characters on screen is tied up with wider issues presented in the series.

Toscano and Kinkle illustrate the economic difficulties presented in the series and the attempt of The Wire to map out issues. Fuggle’s article debates the idea that the series is an attempt to critique institutional power. Blauner’s ideas on internal colonialism are used to help understand how urban developments have changed and what The Wire represents today. Meaney describes how characters struggle because of socio-economic issues in Baltimore in the series.

Weir and Bilton provide a theoretical grounding for terms like ‘the underclass’ and thus help highlight the connectivity of themes of class and race. Goldberg’s understanding of race and racism assisted in documenting the type of discrimination which occurs in the series. Spencer’s conception of ethnic difference in society also brought a level of depth and understanding to how racial issues in the series were presented. Castles highlights the changing nature of racism, the influence of class and how globalisation has influenced the role of race in society.

The main theoretical framework surrounding this study incorporates a number of key concepts from contemporary theory. Media theory and methods of representation ground the series to contemporary developments in this area. Political economy and the Left/Right ideological divide are utilised to establish a sense of contrast in the media and illustrates the role of the TV series. Concepts of globalisation, capitalism and neo-liberalism bring an academic depth to the book’s arguments. Internal colonialism helps address ideas like gentrification, urban segregation and ghetto revolt. Gender analysis is also used to help establish the different roles of each character in the series. Ideas of racism and institutional racism document the different forms of discrimination. Theories of class also underpin developments in the series and add to the main argument in the text.

A SPATIAL ANALYSIS OF CRIME IN AN URBAN CONTEXT: THE WIRE

The main focus of this chapter will be an analysis of the idea of race and discuss media representations in an effort to develop understanding of the role of The Wire. By addressing this area the chapter sets up the idea of using a TV series as an academic study and establishes The Wire as a credible series which is worthy of analysis. Making use of articles including media portrayals will establish how The Wire often differentiates from stereotypical depictions. Lisa Kelly describes the series as an attempt to: ‘create a complex, authentic, and credible depiction of the American city of Baltimore, through which to examine the themes of class, institutional corruption and corrosion, and the ongoing drug war’ (Kelly, 2011).

Interestingly, the series depicts a number of different ethnicities living in the city of Baltimore. There are African-Americans, Irish Americans and Polish Americans along with a number of sub cultures. What separates this series from others is the ability to provide realistic and authentic depictions of characters. Issues within the city of Baltimore are also captured in a very strategic way which introduces the viewer to a unique setting. The series has gained popularity within the academic community for presenting issues and characters in a balanced or considered manner. The Wire is one of the most notable series of the 21st century with regard to its ability to influence opinion. Those living in the projects, the homeless or people who have been caught up in crime are often portrayed in a manner which provokes empathy. As The Wire provides the point of view of the police and their targets, notions of good and evil are often challenged.

SPATIAL REPRESENTATION AND THE WIRE

The Wire earns its merit by ensuring its portrayals are accurate, the casting in the series is carefully considered so that an authentic depiction is guaranteed. Kelly highlights how accurate casting is a positive feature of the series: ‘What makes The Wire even more distinctive, however, is the fact that it features a cast that is around sixty-five per cent black’ (Kelly, 2011). While the series attempts to pay attention to a number of different communities in Baltimore, it could be argued that its primary representative focus is the African Americans in the city. However, what must also be considered is the target audience when discussing the series. The Wire certainly stands out amongst other HBO (Home Box Office) series which would generally rely on a predominantly white cast. One may also be inclined to think that the largest demographic of people watching HBO series, including The Wire, would be predominantly white. This creates some issues with regard to the impact of the series as a piece of representation. Even if the director has an ability to create an accurate portrayal, the content should be available to a wide range of people, especially communities that the series may depict.

However, even considering this issue the series still retains validity because of its original nature. The consistent casting in The Wire gives the series a convincing appeal and also creates an interest among the academic community: ‘the casting process in The Wire affirms the sense of “otherness” that informs the show; the “other” American that tends to go unseen on television screens due to the focus on mainly white, middleclass and ultimately “aspirational” characters’ (Kelly, 2011). It could be argued that The Wire is in fact one of the first TV series that attempted to portray African Americans in a positive, or at least considered light. While this is not to say that other depictions were necessarily racist in nature, one could claim that media representations often neglected African Americans in the past. Speaking of the casting choices of the series, Kelly states that The Wire features characters that are ultimately playing: ‘versions of themselves in an attempt to lend authenticity to the conceit of each show’ (Kelly, 2011).

There are a few important things to remember with regard to Kelly’s insight here. Firstly, one should be careful to remember that while the series obviously portrays some of the African Americans in low social positions, the series is supposed to be an accurate portrayal of what is a predominantly poor city. The Wire does not solely depict African Americans as impoverished members of the projects. In the series African Americans also take up roles as policemen, lawyers, political representatives and religious figures. However, while some characters in The Wire are able to climb the socio-economic ladder of Baltimore, it could be claimed that some of these characters are exceptions to the restrictive nature of the city.

The Wire still seems to be one of the few exceptions when considering the larger domain of television. ‘With regards to the prime-time television landscape, white cast members continue to “dominate” “screen time,” not only in terms of the number of characters, but also in terms of the prominence of the characters in their respective shows’ narratives’ (Kelly, 2011). The wider misrepresentation in TV series is potentially damaging as it creates strain among different ethnicities and imposes boundaries among people.

In an article titled ‘Prime Time Apartheid: how television has divided the races’, Jason Gay argues that the seemingly stratified world of television is not so much racially influenced, but commercially dictated. Gay claims that: ‘Racism alone doesn’t explain the current state of African-Americans on TV; more than anything else, the marketplace does’. It seems that the direction of TV is changeable and that audiences want different content at different times. One would be inclined to believe that wider political developments may affect viewing patterns or openness to unorthodox depictions. ‘Whereas previous decades saw programmes such as The Cosby Show, The Jeffersons and The Flip Wilson Show attract broad and racially diverse audiences, the 1990s have been a decade of increasing racial division in the ratings’. It is interesting to note how viewing trends and methods of representation can change drastically from one decade to the next.

While previous TV series depictions featuring African Americans may have been attempts to cash in on fluctuating trends among viewership, The Wire presents itself as above purely chasing commercial success. The series is primarily concerned with quality portrayals and accurate representation of the unheard. One could argue that The Wire was the first drama depiction that featured African Americans that achieved popular, critical and commercial success. The usage of Baltimore locals may have bolstered the series grass roots charm: ‘The often impenetrable accents and highly specific colloquial vernacular make no concessions to the average viewer but instead demand their attention and commitment’ (Kelly, 2011).

While viewers may not initially be able to understand characters because of localised slang or accents, the viewer is encouraged to trust the series fast paced dialogue. The Wire promotes critical thinking and encourages viewers to engage with the depictions in a constructive manner. The series succeeds because it does not fall into familiar pitfalls of less accurate depictions, The Wire never relies on stereotypes, avoids lazy writing and overcomes viewership limitations. Praising director Simon’s ability to ‘cast with a conscious’, Kelly states that: ‘The Wire would be a very different programme if the supporting cast were filled with jobbing actors rather than Baltimore residents with first-hand experience of the drug crisis within the city’ (Kelly, 2011).

REPRESENTATIONS OF POLITICS AND IDENTITY

Todd Fraley emphasises the role of representation on individual conceptions of identity: ‘Popular media representations, serving as sites of contestation regarding the social construction of race, play a key role in shaping, communicating and understanding racial identities’ (Fraley, 2011). In his article, titled ‘A man’s got to have a code: Identity, Racial Codes and HBO’s The Wire’, much of our own perceptions of race may be largely influenced by what we see in the media. Fraley also praises the series for its ability to address areas such as identity. Interestingly, The Wire seems capable of reconstructing the capabilities of TV as a credible medium. Through TV series like The Wire, people begin to reconstruct their notions of identity, race or representation.

Fraley continues by stating that while the majority of TV may focus on personal issues or individualistic desires, The Wire concentrates on wider sociological and political developments (Fraley, 2011). Perhaps the political nature of the show, alongside its social sensitivity, is what often qualifies The Wire for academic analysis over other series. In fact, it seems that the series itself stands out among the medium of TV: ‘So while for The Wire, television and contemporary public media generally, are part of the problem of neoliberal culture, the TV series itself has been particularly valorized as an exception to the everyday banalities of television culture’ (Sharma, 2011).

Detailing The Wire and its consistent ability to depict characters and their struggles, Fraley states that the series: ‘presented complex individuals struggling with the inherent tensions of good and bad and rejecting simple racial categorizations’ (Fraley, 2011). Even considering that the show heavily features policemen, lawyers and other political powers the series is far removed from more traditional American cop shows which promote themes of justice and order. One could argue that the series is more concerned with allowing people to sympathise with characters that have been marginalised. While a conventional depiction of policemen in an urban setting would usually rely on a villainous, disenfranchised character, The Wire equalises the notions of good and evil and represents who would otherwise be criminals as products of a difficult environment. At times characters are often presented as being potentially successful, but just lacking integration and acceptance from wider society in Baltimore. Comparing The Wire to the series Hill Street Blues, Fraley claims that The Wire: ‘offers a similar analysis through tragic heroes and principled deviants who illustrate the tension between structure and agency’ (Fraley, 2011).

It is consistently implied by those who have written on The Wire that many of the issues present in the series somehow relate back to racial tensions. ‘For five seasons The Wire used gripping portrayals of complex social issues to interrogate the daily interactions of disconnected communities in a society wrestling with racial identity’ (Fraley, 2011). This is an interesting insight into the current state of racial relations in America today. Disparities between rich and poor are further exasperated alongside issues of race. Evidently, this difficult situation results in problematic social issues which surface in the form of drugs, racism and poverty.

The series original depictions and authentic casting could be highlighted as the reason why the viewer must always reconsider and revaluate when watching The Wire: ‘Because nearly every character played with stereotypes, each episode of The Wire demanded reconsideration of assumptions about authentic racial identities’ (Fraley, 2011). Interestingly, in the series characters are equally subject to social issues regardless of their class standing. From the drug peddlers to the aspiring political figures, no character in The Wire is completely sheltered from the underlying issues in the city. One of the most impressive aspects of The Wire is its ability to blur boundaries between class and race and present characters on a humane and relatable manner. Interestingly, while the series shows the interconnectedness of society, it also manages to highlight social divisions without contradicting itself.

A political analysis must be deployed when considering The Wire as a piece of representation. It would be uncontroversial to claim that the wider political left and right divide trickles into media such as TV, movies and news channels. When one examines the content and messages of a TV series they may unravel the underlying political tones, and the resulting political affiliation. The Wire sets out to differentiate itself from previous attempts of representation. Traditionally, TV series would have generally dep...

Table of contents

• Cover
• Title Page
• Framing Injustice in Green Criminology: Activism, Social Movements and Geography
• Anthropology at the Red-Green Crossroads
• The Ferguson Shooting, 2014: A Spatial and Media Analysis
• Spatial Patterns of Mass Shootings in the United States, 2013–2014
• Homeless Demography in Los Angeles County
• Police Culture, Gender and Crime in the Irish Free State
• A Spatial Analysis of Crime: ‘The Wire’ and Depictions of Urban Crime
• Toward a Spatial Analysis of Methamphetamine in North America
• Index