Doctoral Candidate at the Graduate School of North American Studies.Freie Universität Berlin
Freie Universität Berlin – JFK InstituteM.A. – North American Studies (Culture, Economics)
UC BerkeleyB.A. English - Highest Academic Honors
|2013-2015||Consultant – Market Logic Software, Berlin, Germany|
|2013||Research Analyst – Market Logic Software, Berlin, Germany|
|2012-2013||International Business Development & Marketing Assistant – CWT, Berlin, Germany|
|2009-2011||EFL and Legal English Instructor – Fatih University, Istanbul, Turkey|
|2008||Executive Legal Assistant – W&P, San Francisco, California, USA|
Since the 1970s the United States has witnessed a drastic rise in its incarceration rate. With under 5% of the world’s population, the USA currently holds nearly 25% of its prisoners. Colored by an over-representation of poor urban minorities, and particularly African-Americans, mass incarceration has been facilitated by the punitive turn in American criminal justice, illiberal tough-on-crime legislation, the structural and institutional legacies of slavery, the shifting sands of the post-industrial economy, the neoliberalization of the welfare state, and an increasingly futile war on drugs. With few exceptions, the American media largely elided critical coverage of mass incarceration until well into the first decade of the 21st century.
Long a much-maligned medium, dominated by a few large broadcast networks and a spattering of niche cable offerings, TV was widely associated with low production values, unsophisticated mass appeal, and ideological complicity. In contrast, it is now increasingly common to speak of a so-called “new golden age” of “quality” television. Many TV critics trace the inauguration of this post-network era of “quality” television back to the premiere of HBO’s first original series, Oz. Produced at the height of the upsurge in American imprisonment and set entirely in a maximum security prison, Oz was the first fictional American TV drama to explore the opaque back-stages of the criminal justice system and has been celebrated as the forerunner for a new generation of critically acclaimed “prestige” series which venture into the dark, forgotten corners of American society by inflecting recognizable genres with more challenging, edgier, “socially relevant” postures. Searching for a vocabulary to describe these programs without naively reproducing their self-celebratory bravura, media scholars have adopted the term with which Jason Mittell christens his study of recent TV cultures: Complex TV (2015).
A variety of these “Complex TV” series have explicitly tackled subjects related to American mass incarceration, causing sociologists and cultural critics, perennially anxious about television’s ostensibly corrupting influence, to worry over the potential of these series to distort public perceptions. In the popular press and academic journals alike, scholars, commentators, and fans argue vehemently over the “realism” of The Wire, the “post-feminist” ideological implications of Orange is the New Black, and the commercial complicity of documentaries such as Ava DuVernay’s 13th. Animating these debates are deep-seated assumptions about the political potentialities and perils of our contemporary media ecology.
This dissertation explores these issues by analyzing the mutual entanglements of sociopolitical discourses and Complex TV in the age of mass incarceration. While it touches on a variety of media contexts, it gives pride of place to TV series such as Orange is the New Black, Oz, The Wire, and documentaries such as Ava DuVernay’s critically acclaimed 13th. It asks: what and how does contemporary TV know about mass incarceration? How is this knowledge shaped, serialized, circulated and put to work? What is its relation to other epistemological domains? What role do they play in the construction of American culture and society? And finally, what opportunities to re-describe, reimagine, and reshape American society in the age of mass incarceration are afforded by evolutions in our media ecology?
“Can Documentary Re-Write History? The Inter-medial Aspirations of Ava DuVernay’s 13th” American Counter/Publics. DGfA, 2019 (forthcoming)
“Screening Campus Identity Politics: Dear White People, Cultural Studies, and the American University.” Mapping Fields of Study: The Cultural and Institutional Space of English Studies.
Ed. Smith, Matthew and Richard Sommerset. Presses Universitaires de Nancy; Collection: Regards sur le monde Anglophone, 2018. (forthcoming)
“Opening Pandora’s Cable Box: Rethinking the New Golden Age of Television.” Presentation. 11th International Graduate Conference: The Yellow Brick Road? Challenging Approaches to Progress. Graduate School for North American Studies, John F. Kennedy Institute, Free University of Berlin, Germany. June, 2018.
“How does Violent Spectacle Appear as TV Realism? Sources of Oz’s Penal Imaginary.” Presentation. OASIS Summer Institute 2018. “L’Orientale” University of Naples. Italy. May 2018.
“Can Documentary Re-write History? The Inter-medial Aspirations of Ava Duvarney’s 13th.” Presentation. 65th Annual Conference of the German Association for American Studies (DGfA): American Counter/Publics. John F. Kennedy Institute, University of Berlin, Germany. May 2018.
“Television Across Disciplines? A Discussion.” Focus Group Moderator. Interdisciplinary Roundtable. John F. Kennedy Institute, Free University of Berlin, Germany. January 9, 2018.
“Justice in (Serial) Suspense: Making a Murderer.” Presentation. 5th Literature and Law Conference. Visualizing Justice. John Jay College of Criminal Justice, CUNY, New York City, October, 2017.
“Is Entertainment the New Activism? Orange is the New Black.” Presentation. 10th Annual
International Graduate Conference: The Revolution Will Not Be Peer-Reviewed. Graduate School for North American Studies, John F. Kennedy Institute, Free University of Berlin, Germany, May 2017.
“On Failing to Manage: Oz, the Punitive Turn and Contemporary Television.” Presentation. Fictions of Management. International Conference. John F. Kennedy Institute, Free University of Berlin, Germany, Dec 2016.
“Unruly Epistemologies: TV, Sociologies & their Cultures in the Age of Mass Incarceration.” Poster Presentation. Maurice Halbwachs Summer Institute: Crime, Dis/Order, Narration. University of Gottingen. Germany, August 2016.
“Interdisciplinarity, or ‘What are We Doing Here?’” Panelist. Kennedy Debates. John F. Kennedy Institute, Free University of Berlin, Germany. July 2016.
“If it’s not TV, is it Sociology? The Wire.” Presentation. Futures of American Studies Summer Institute. Dartmouth College, USA June 2016.
“Closing Remarks.” Project Manager, Organizational Committee, 9th Annual International Graduate Conference: Flows & Undercurrents Dimensions of Immobility in North America. Graduate School for North American Studies, John F. Kennedy Institute, Free University of Berlin, Germany, June 2016.
“Native Son in the African American Critical Tradition.” Presentation. International Conference
Interdisciplinarity in English Studies: Mapping Fields of Study: Renegotiations of Disciplinary Spaces in the English-Speaking World. University of Lorraine, Nancy, France. June 2016.
“Occupy Images: A Look back at the 99%.” Presentation. Student and Graduate Conference: Culture, Identity, and Media: New Perspectives on Representation. Goethe University Frankfurt, Germany, May 2016.
“Dangerous Declensions: Genre and the Cinematic Construction of Criminality.” Position Paper. Third Annual Graduate English Conference: Crime and Criminality. Carolina Graduate Literature Society, University of South Carolina, USA, April 2016.
“If it’s not TV, is it Sociology? The Wire…” Presentation. Futures of American Studies. Summer Institute. Dartmouth University, USA June 2016.
“Unruly Epistemologies: TV, Sociologies & their Cultures in the Age of Mass Incarceration” Poster Presentation. Maurice Halbwachs Summer Institute: Crime, Dis/Order, Narration. Universitat Gottingen. Germany, August 2016.